CATALOGUE 


O  F 


SACRAMENTO,  CALIFORNIA 


GOJ&tPILEQ    £Y   JtfI?S.    jfi.    L.  (DOYLE 


"  Thou  art  the  fairest  of  the  sisters  three, 
Genius  of  Painting!  all  hearts  bow  to  thee! 
Music  and  Poetry,  with  voice  divine, 
Can  draw  a  thousand  votaries  to  their  shrine; 
Ttoth  can  describe  events  that  onward  roll, 
In  strains  or  language  that  enchant  the  soul; 
But  Ihou  alone  the  rainbow  tints  hast  caught, 
To  stamp  with  life  the  poet's  brightest  thought." 


SACRAMENTO 
H.  S-.  CROCKER  &  CO.,  PRINTERS 
1,876 


CATALOGUE. 


1.  UNKNOWN. 

WINTER. 


2.  UNKNOWN 

AUTUMN. 


5.   NAHL,  CHAS.  C.  San  Francisco. 

SUNDAY  MORNING  IN  THE  MINES  (1849). 

This  picture  is  of  special  interest,  as  the  scenes  it  represents  are  all  taken 
from  real  life  in  the  mining  camp,  in  the  California  era  of  '49.  In  the  fore- 
ground is  a  small  cabin,  within  which  a  young  man,  evidently  not  very  long 
from  home,  is  writing  to  his  mother;  and  immediately  outside  the  door 
an  elderly  man  is  reading  the  Scriptures  aloud  to  two  of  his  companions. 
To  the  right,  two  miners  are  washing  their  decidedly  dilapidated  garments, 
and  to  the  left  two  others  are  trying  to  lead  home  their  drunken  partner, 
who,  utterly  unconscious  of  what  he  is  about,  is  scattering  his  gold  dust  in 
a  most  reckless  manner.  In  the  center,  some  men  are  having  a  spirited 
horse  race,  while  a  quiet  Englishman  is  calmly  enjoying  Sunday  morning 
in  his  own  fashion.  Quite  in  the  background,  in  front  of  a  saloon,  there  is  a 
fight,  which  has  probably  arisen  from  some  cheating  at  cards. 


4.   NAHL,  CHAS.  C.  San  Francisco. 

THE  FANDANGO. 

This  picture  illustrates  Spanish  life  in  the  early  clays  of  California.  In 
front  of  a  small  hacienda,  built  of  adobe,  and  overshadowed  by  laurel  trees 
and  vines,  a  mirthful  company  of  young  Spaniards  is  dancing  the  national 
fandango,  to  the  music  of  banjo  and  violin.  Behind  them  a  cavaliero  stands 
ready  to  escort  some  of  the  ladies  home.  In  the  foreground,  two  vaqueros 
are  throwing  dice,  and  on  the  verandah  of  the  hacienda  a  fight  is  going  on, 
which  some  anxious  friends,  male  and  female,  and  a  holy  father,  are  trying 
to  terminate  by  separating  the  combatants.  In  the  distance  a  man  is  seen 
catching  a  bull  with  the  lasso. 


4 


CATALOGUE 


5.    COGSWELL,  WM. 


PORTRAIT  OF  PRESIDENT  U.  S.  GRANT. 


6.    COGSWELL,  WM. 


PORTRAIT  OF  CHIEF  JUSTICE  SALMON  P.  CHASE. 


7.    NAHL,  CHAS.  C. 


San  Francisco. 


THE  PATRIOTIC  RACE. 


No.  7  represents  an  incident  of  the  American  Revolution.  While  both 
armies  were  encamped  near  the  Potomac,  the  English  officers  gave  a  ball  to 
the  ladies  of  the  vicinity.  In  the  course  of  the  evening  a  young  American 
girl  happened  to  overhear  a  whispered  conversation  between  two  officers 
relating  to  movements  of  the  army  and  some  important  dispatches  on  the 
subject,  which  were  to  be  forwarded  that  night  by  special  messenger  to  a 
commanding  officer  stationed  at  some  distance.  Understanding  of  what 
immense  advantage  the  possession  of  these  papers  would  be  to  her  country- 
men, the  young  girl  instantly  formed  a  heroic  resolution.  Slipping  into  the 
kitchen,  she  managed  to  divert  the  attention  of  the  messenger  while  she 
abstracted  the  dispatch  bag,  then  hurrying  to  the  stable  she  mounted  the 
horse,  which  stood  ready  saddled  for  the  British  soldier,  and  behold  her 
galloping  towards  the  American  encampment.  In  a  short  time  the  impor- 
tant theft  is  discovered  and  an  English  officer  starts  in  pursuit  of  the  fugi- 
tive. Just  at  sunrise  he  overtakes  her — another  moment  and  her  heroic  act 
had  been  in  vain,  bitt  American  tents  are  gleaming  in  the  distance,  an 
American  soldier  is  already  by  her  side.  In  the  ardor  of  his  exciting  chase, 
the  Englishman  has,  unnoticed,  passed  the  lines  of  the  hostile  encampment; 
at  the  sharp  tone  of  the  American  soldier,  he  now  wheels  about  with  an 
angry  oath,  and,  thanks  to  his  brave  steed  alone,  makes  good  his  escape 
to  the  British  lines. 


The  arrangement  of  the  groups  in  this  painting  is  very  effective.  The 
position  of  the  girl  looking  down  from  the  stone  wall,  and  that  of  the  young 
peasant  reaching  up  to  take  the  pitcher,  is  alike  good,  while  the  Dalmatian 
beauty  seated  in  the  foreground  gives  us  an  excellent  opportunity  of  study- 
ing her  picturesque  attire,  from  her  jaunty  little  scarlet  skull-cap  to  the  tip 
of  her  shoes.  A  long  connection  with  Venice  has  made  the  Italian  language, 
customs  and  architecture  very  general  in  Dalmatia,  but  their  costume  more 
nearly  resembles  the  Greek ;  and  the  male  peasantry,  in  red  cap  and  jacket, 


8.   ADAM,  EUGENE 


Munich. 


DALMATIAN  PEASANTS  AT  THE  SPRING. 


CROCKER  ART  GALLERY. 


5 


blue  trowsers  and  sandals  laced  up  the  ankle,  present  an  exceedingly  pictu- 
resque appearance.  Quite  in  the  foreground  of  the  picture  some  horses, 
goats  and  a  dog  show  that  the  artist  excels  likewise  in  painting  animals. 
In  the  background,  to  the  left,  a  train  of  peasants  and  mules  are  seen  wind- 
ing along  a  road  overshadowed  by  rocky  cliffs. 


9.   EIBNER,  L. 

FREIBURG  CATHEDRAL. 

The  cathedral  before  us  is  one  of  the  most  perfect  specimens  of  Gothic 
architecture  in  Germany.  The  artist  has  succeeded  admirably  in  presenting 
to  us  the  pyramidal  spire  of  most  exquisite  open-work  tracery  which  sur- 
mounts the  tower.  Beneath  is  the  main  entrance  into  the  church,  through 
the  magnificent  portal,  richly  ornamented  with  sculptures.  To  the  left  of 
the  cathedral  is  a  handsome  Gothic  fountain,  a  woman  in  the  national  cos- 
tume is  stooping  beside  it,  busily  washing  some  clothes,  and  a  young  girl, 
while  waiting  for  her  tub  to  fill,  is  gazing  with  interest  at  something  across 
the  street. 


10.    VANDYCK,  SIR  A.  Flemish  School 

PORTRAIT. 

Anthony  Vandyck,  the  friend  and  pupil  of  Rubens,  is  justly  termed  the 
"  Prince  of  Portrait  Painters."  In  this  department  he  is  allowed  to  have  but 
one  superior— Titian.  Vandyck  was  born  at  Antwerp  in  1599,  and  died  in 
London  in  1641.  The  portrait  before  us  is  evidently  that  of  some  scholar  and 
divine  of  the  seventeenth  century. 


11.    WYCK,  THOMAS.  Flemish  School 

THE  DENTIST. 

All  but  the  favored  few  who  have  never  visited  the  dentist,  must  sympa- 
thize with  the  poor  unfortunate,  who,  with  his  hand  supporting  his  jaw,  is 
evidently  still  suffering  cruelly  from  the  recent  operation.  Thomas  Wyck 
was  born  at  Harlem  in  1616.  He  excelled  in  painting  small  figures,  shipping, 
the  interiors  of  chemists'  laboratories,  etc.  "His  pictures  are  well  com- 
posed, his  coloring  warm  and  transparent,  and  his  pencil  bold  and  free." 
He  died  in  1686. 


12.   BAGER,  JOHANN  DANIEL. 

PORTRAIT. 

At  an  open  window,  the  upper  part  of  which  is  overshadowed  by  vines, 
stands  an  elderly  man  in  the  dress  and  powdered  hair  of  the  eighteenth 
century.  His  left  arm  rests  on  a  red  cloth  which  is  thrown  across  the  win- 
dow-sill, and  in  his  right  is  a  small  bas  relief— a  woman's  head. 


* 


6 


CATALOGUE 


13.   REYNTJENS,  H.  E. 


Paris. 


A  JOLLY  PARTY. 


This  picture  represents  four  gallant  cavaliers  of  the  last  century,  enjoying 
the  pleasures  of  the  table.  The  gentleman  in  the  brown  coat,  to  the  left,  is 
evidently  an  epicure,  while  the  others  are  devoting  at  least  a  share  of  their 
attention  to  the  trim  looking  maid  who  is  just  entering.  At  a  side  table,  a 
butler  is  drawing  some  corks. 


14.    VAN  DER  WERF,  PETER.         Dutch  School. 


Peter  Van  der  Werf  was  born  in  the  vicinity  of  Eotterdam  in  1665.  A  pupil 
of  his  elder  brother,  Adrian,  he  copied  the  latter's  works  in  the  same  tone  of 
coloring  and  delicate  manner  of  penciling.  In  painting  from  his  own  de- 
signs he  imitated  his  brother  so  closely  that  his  pictures  have  sometimes 
passed  for  Adrian's  works,  although  they  are  inferior  to  them.  He  died  in 
1718. 


JUDGE  E.  B.  CROCKER  AND  FAMILY  SKATING  ON  THE 
POND  IN  THE  "GROSSER  GARTEN,"  IN  DRESDEN. 


16.    VANDYCK,  SIR  A.   1599-1641.     '  Antwerp. 


THE  EPIPHANY,  OR  ADORATION  OF  THE  THREE  KINGS. 

The  church  yearly  celebrates  this,  almost  the  first  event  in  the  human  life 
of  the  infant  Savior.  The  Magi,  or,  as  tradition  has  it,  the  "Three  Kings," 
having  seen  His  star  in  the  east,  have  come  to  woi'ship  Him  and  bring  gifts, 
"gold,  frankincense  and  myrrh."  In  the  center  of  the  picture,  clad  in  an 
ermine  mantle,  his  jeweled  turban  lying  at  his  feet,  sits  one  of  the  kings, 
tenderly  holding  the  divine  infant,  whom  he  has  just  received  from  the 
arms -of  the  Virgin.  Close  beside  him,  to  the  right,  the  second  king,  a  Moor, 
is  bending  down  to  present  his  offering,  and  behind  him  appears  the  figure 
of  the  other  king.  To  the  left,  in  scarlet  robe  and  dark  drapery,  stands  the 
blessed  mother,  contemplating  her  son,  and  quite  in  the  background  ap- 
pears the  head  of  St.  Joseph,  while  some  figures— attendants  of  the  Magi- 
fill  up  the  center  of  the  background.  There  is  infinite  grace  and  simplicity 
in  the  expression  and  attitude  of  the  blessed  Virgin,  and  the  head  of  the 
king  holding  the  infant  is  full  of  wonderful  dignity,  individuality  and  ven- 
eration. The  paintings  of  Vandyck  are  very  numerous,  notwithstanding 
the  shortness  of  his  career.   His  best  historical  picture  is  undoubtedly  the 


MEDOR  AND  ANGELICA. 


(From  Ariosto's  "  Orlando  Furioso.") 


15.   JUNKER,  W. 


Dresden. 


CROCKER  ART  GALLERY.  7 


Crucifixion,  in  the  Church  of  the  Recollets  at  Mechlin,  of  which  Reynolds 
says  that  it  "May  be  considered  one  of  the  first  pictures  in  the  world,  and  it 
gives  the  highest  idea  of  Vandyck's  powers,  showing  that  he  had  truly  a 
genius  for  historical  painting,"  although,  during  the  last  ten  years  of  his 
life  he  devoted  himself  almost  exclusively  to  portrait  painting. 


17.   PILOTY,  CARL.  Munich. 

THE  HURDY-GURDY  GIRL. 

Three  quarters  length  figure  of  a  young  girl.  The  face  is  beautiful  and 
full  of  expression ;  the  left  hand  and  arm  extended  to  hold  the  hurdy-gurdy 
are  exquisitely  modeled,  and  the  arrangement  of  the  drapery  is  highly 
artistic  and  picturesque.  In  the  background  is  a  profusion  of  variously 
tinted  Virginia  creepers. 

Professor  Piloty  was  born  in  1826,  and  is  at  present  Director  of  the  Royal 
Academy  of  Munich.  He  acquired  European  fame,  by  two  great  works, 
which  of  their  kind  are  unrivalled :  The  "  Death  of  Wallenstein,"  and 
"Nero  Walking  among  the  Ruins  of  Rome."  He  has  numerous  followers 
and  imitators,  among  them  Lindenschmidt  and  Toby  Rosenthal. 


18.    MUHR,  JULIUS. 

OTHELLO  AND  DESDEMONA. 

"  These  things  to  hear, 
Would  Desdemona  seriously  incline." 

The  Moor,  seated  to  the  left,  appears  to  live  over  again  the  adventures 
which  he  is  relating  to  Desdemona  and  Brabantio.  The  latter  seated  to 
the  right,  attired  in  his  Senatorial  robes,  his  left  arm  resting  upon  a 
marble  table,  listens  with  dignified  demeanor  to  the  spirited  discourse; 
while  Desdemona,  attired  in  green  velvet,  and  with  the  golden  hair,  in 
which  the  Venetians  delight,  stands  leaning  against  a  pillar  to  the  right  of 
her  father,  listening  with  clasped  hands,  and  evidently  drinking  in  love 
at  every  pore.  In  the  background  appear  the  blue  waters  of  the  Adriatic 
and  a  glimpse  of  fair  Venice,  the^City  of  the  Sea.J 


19.    HAKL,  G.  Munich. 

THE  EXHORTATION. 

This  composition  contains  sixteen  figures,  of  which  each  one  is  a  study. 
To  the  left,  before  a  table  covered  with  a  red  cloth,  on  which  lies  an 
open  Bible,  stands  the  pastor,  his  hands  clasped  in  earnest  exhortation, 
while  enthusiasm  and  devotion  are  expressed  in  his  countenance.  The 
woman  in  the  foreground,  whose  face  appears  in  profile,  is  listening  with 
rapt  attention.   The  other  faces  are  equally  expressive-; 


Munich. 


8 


CATALOGUE 


20.  VAN  DER  VENNE,  A.  Munich. 

THE  UNLUCKY  TRANSPORT. 

A  winter  scene — the  sky  is  dark,  the  ground  covered  with  ice  and  snow. 
A  miserable  wagon,  laden  with  earthenware  and  drawn  by  three  shaggy, 
demoralized  looking  horses,  has  just  met  with  an  accident,  and  broken 
vessels  of  every  description  are  scattered  on  the  ground.  An  old  woman, 
in  very  hybrid  costume,  stands  behind  the  wreck,  to  the  left  of  the 
picture,  anathematizing  with  clenched  fists  the  awkwardness  of  the 
driver,  who,  standing  beside  his  horses,  is  looking  down  with  stolid 
stupidity,  not  even  attempting  to  interrupt  the  volley  of  imprecations 
which  is  being  hurled  at  him. 

21.  GLIEMAN,  A.  Dresden. 

GIRL  AND  PET  DOG. 

A  Saxon  country  girl  is  seated  near  a  spring,  looking  down  at  her  dog 
while  her  pitcher  is  filling  with  water. 

22.  BIENAIME,  J.  Paris. 

THE    DANGEROUS  NEIGHBOR. 

Chanticleer  and  two  hens  in  the  centre,  and  to  the  right  a  fox,  just  ready 
to  spring. 


23.    F.  ROFFIAEN,  and  EUG.  VERBOECKHOVEN. 

LANDSCAPE  WITH  ANIMALS. 

A  feeling  of  soft  pervading  stillness  falls  upon  us  as  we  gaze  upon  this 
exquisite  picture,  which  possesses  a  double  interest  from  the  fact  of  its 
being  the  joint  composition  of  two  artists,  each  excelling  in  his  line.  The 
mountains  rising  from  the  water's  edge  to  the  -left  and  in  the  centre  of  the 
background  are  bathed  in  a  flood  of  tender  sunlight,  while  the  rocky  and 
perpendicular  ones  to  the  right  lie  in  shadow.  The  grouping  and  pose  of 
the  animals  are  perfect;  some  of  them  are  standing  in  the  water,  and  all 
seem  to  be  enjoying,  in  their  bovine  way,  the  balmy  breath  of  evening. 

Eugene  Verboeckhoven  was  born  in  1799  at  Warneton,  a  small  village  in 
Belgium.  He  is  a  member  of  the  Antwerp  Academy,  an  officer  of  the  Order 
of  Leopold,  a  Chevalier  of  the  Legion  of  Honor,  Commander  of  the  Portugese 
Order  of  Christ,  and  Chevalier  of  the  Order  of  Merit  of  Bavaria.  Many 
painters  who  have  risen  to  eminence  have  acquired  a  knowledge  of  the  art 
in  his  studio  at  Brussels. 


24.    ROUX,  CHARLES. 

CATTLE  PIECE. 


Munich. 


CROCKER  ART  GALLERY.  9 


25.    VANDYCK,  SIR  A.  (after) 

MADONNA  AND  CHILD. 

The  Virgin  appears  in  her  regal  character  as  the  Queen  of  Heaven,  wit  h 
crown  and  sceptre.  The  infant  Savior  stands  upon  her  knee,  leaning 
against  his  mother,  and  supported  by  her  right  hand. 


26:  DURER,  ALBERT.  German  School 

ST.  JOSEPH. 

Albert  Durer,  the  painter  of  this  head  of  St.  Joseph  and  its  companion 
picture,  "  The  Virgin  Mary,"  was  born  at  Nurnberg  in  1471.  He  distinguished 
himself  in  youth  by  his  exquisite  carvings,  and  subsequently  adopted 
painting  as  his  profession.  Albert  Durer  has  been  styled  the  father  of  the 
German  School  of  Painting  and  the  Prince  of  Artists.   He  died  in  1528. 


27.    DURER,  ALBERT.  German  School. 

THE  VIRGIN  MARY. 


28.    VERONESE,  PAOLO  (after)  1532-1583. 

Venetian  School. 

CHRIST  BEARING  THE  CROSS. 

"Dragged  forward  by  a  brutal  crucifix,  fainting  under  the  weight  of  the 
cross,  the  Redeemer  tottered  feebly  towards  the  Gate  of  Judgment,  while 
the  sainted  Veronica,  heedless  of  the  rudeness  of  the  soldiers,  pressed 
forward  to  wipe  from  the  countenance  of  the  sufferer  with  her  handkerchief 
the  blood  that  trickled  from  his  thorn-pressed  brows  (which  handkerchief, 
according  to  the  legend,  ever  afterwards  retained  the  impression  of  the 
divine  features);  while  behind,  Mary,  supported  by  the  Apostle  John, 
stretched  her  arms  in  speechless  agony  towards  her  beloved  son." 

The  original  painting  is  in  the  Dresden  Gallery. 


29.   DIETRICH,  FRANZ.  Dresden. 

CEDIPUS  AND  ANTIGONE. 

On  discovery  that  he  had  been  guilty  of  the  double  crime  of  parricide  and 
incest,  CEdipus  in  horror  put  out  his  eyes  and  exiled  himself.  Led  by  bis 
daughter  Antigone,  he  proceeds  to  the  grove  of  the  Furies  at  Colones,  where, 
amid  thunder-peals,  he  is  removed  from  earth. 

Advancing  along  a  dreary  and  rocky  road,  Antigone,  in  a  white  garment 
almost  completely  covered  by  violet  drapery,  which  veils  without  conceal- 
ing her  beautiful  form,  is  putting  aside  the  briars  from  her  father's  path 
with  the  wand  in  her  right  hand  ;  her  head  is  turned  towards  CEdipus,  avIio 


10 


CATALOGUE 


on  his  daughter's  left  side  and  holding  her  hand  advances  with  bowed  head 
and  the  slow,  uncertain  step  of  blindness.  The  dark  red  drapery  of  CEdipus 
contrasts  admirably  with  his  silvery,  flowing  hair  and  beard.  A  boy  and 
two  men,  one  of  whom  carries  some  game  slung  across  his  shoulder,  are 
descending  a  pathway  in  the  background  to  the  right. 


30.   MARTUSTEIG,  F.  Weimar. 

ULRICH  VON  HUTTEN  SEEKING  SHELTER. 

Ulrich  von  Hutten,  born  in  Hesse  Cassel,  in  the  year  1488,  was  placed  at 
the  age  of  eleven  in  the  monastery  of  Fulda,  with  the  intention  of  his 
becoming  a  monk.  When  fifteen  he  ran  away  from  the  cloister  to  the 
University  of  Erfurt,  where  he  joined  the  anti-monkish  party.  He 
subsequently  became  a  great  scholar  and  reformer.  He  died  in  Switzerland 
in  1523.  No.  30  represents  him  seeking  the  refuge  provided  for  him  by 
Zwinglius,  in  the  house  of  a  clergyman  named  Schuegg,  on  the  island  of 
Ufuan,  in  the  Lake  of  Zurich. 


31.  ADAM,  BENNO.  (after) 

TOWN  QUARTERS. 

The  interior  of  a  city  stable,  containing  two  horses.  A  dog  is  making  an 
ineffectual  spring  at  a  cat,  which  is  comfortably  seated  high  up  on  the 
window-sill.  The  original  of  this  picture  is  in  the  Royal  Bavarian 
collection,  at  Schleissheim. 

32.  TEIX.  Dresden. 

MARY,  QUEEN  OF  SCOTS,  AND  HER  HUSBAND,  WITH 

RIZZIO. 

On  the  evening  of  the  9th  of  March,  1566,  Lord  Darnley,  Ruthven,  and 
others,  entered  the  Queen's  apartments,  Holyrood  Palace,  and  carried  out 
their  fiendish  plot  of  assassinating  her  confidential  secretary  and  favorite, 
David  Rizzio,  before  the  eyes  of  his  royal  mistress.  In  the  centre  of  the 
picture,  Mary  is  seated  in  an  attitude  of  alarm,  her  right  hand  extended 
towards  Rizzio,  as  if  to  protect  him.,  The  latter,  to  the  left,  surprise  and 
terror  depicted  on  his  countenance,  leans  back,  gazing  as  if  fascinated, 
upon  Darnley,  who,  with  outstretched  arm,  denounces  him  to  the  execu- 
tioner. In  the  background,  to  the  right,  the  Countess  of  Argyle  stands  near 
the  door,  a  terror-stricken  spectator  of  the  scene. 


33.    MUHR,  JULIUS.  Munich. 

BANQUET  OF  QUEEN  JOANNA,  NEAR  NAPLES. 

At  a  table,  covered  with  a  damask  cloth,  on  which  are  flowers,  wines  and 
sweetmeats,  ladies  and  cavaliers  are  seated  in  various  attitudes,  all  more 
or  less  careless.   In  the  foreground,  to  the  right  of  the  spectator,  sits  Queen 


CROCKER  ART  GALLERY.  11 


Joanna,  a  fair  woman,  of  beautiful  form  and  feature.  She  is  clothed  in  • 
white  satin;  some  drapery  of  gold  brocade  is  thrown  across  her  lap,  which 
is  full  of  flowers,  and  the  tip  of  her  daintily  attired  foot  rests  on  a  richly 
covered  stool.  Her  head  is  turned  towards  the  gentleman  on  her  left, 
Prince  Louis  of  Taranto,  who,  with  his  right  hand  on  his  heart,  is  evidently 
making  some  tender  protestation.  Behind  the  chairs  of  the  Queen  and  her 
favorite  stand  two  Moorish  boys,  holding  fans  of  peacock  feathers.  To  the 
left,  a  youth  and  maiden,  in  the  costume  of  the  Italian  peasantry,  are 
executing  a  national  dance  to  the  music  of  bagpipe  and  flute.  In  the 
background  attendants  are  bringing  in  fruit,  and  on  the  extreme  right  of 
the  picture  a  musician,  seated  on  a  stone  fence,  and  two  lazzaroni  are 
eagerly  gazing  upon  the  festive  scene.  Between  the  vine-wreathed  pillars, 
at  the  back  of  the  table,  we  have  a  view  of  Vesuvius,  and  the  blue  waters  of 
the  far-famed  Bay  of  Naples. 

Queen  Joanna  reigned  from  1343  to  1382.  She  was  a  beautiful,  but  unprin- 
cipled woman,  who  caused  the  murder  of  her  first  husband  in  1345,  and  was 
married  three  times  afterwards.  She  was  suffocated  by  command  of  her 
cousin  and  adopted  son,  Charles  of  Durazzo,  who  was  proclaimed  King  of 
Naples  in  1382. 

34.  WINTERSTEIN,  E. 

CHARITY. 

Represents  a  woman,  in  dark  drapery,  barefooted,  and  carrying  a  naked 
child  in  her  arms,  depositing  a  coin  in  the  poor-box. 

35.  GONNE,  C.  F.  Dresden. 

THE  NYMPH. 

In  a  cool  and  shady  nook,  on  some  red  drapery  which  is  thrown  carelessly 
on  the  stony  bank  of  a  forest  streamlet,  sits  a  maiden  of  rare  and  exquisite 
beauty.  One  foot  just  touches  the  cool  water,  and  her  left  arm  is  raised  to 
throw  a  stone  at  a  little  frog,  saucily  perched  upon  a. stone  to  the  left.  The 
form  and  expression  of  the  nude  flgure  are  perfect  in  their  graceful  and 
refined  loveliness. 


36.   NAHL,  CHAS.  C.  San  Franciseo. 

THE  INDIAN  CAMP. 

Gives  fine  moonlight  and  fire-light  effects. 


37.  MULLER. 

SCHOOL  EXAMINATION. 

A  procession  of  children  under  the  leadership  of  a  "brother,"  is  winding 
past  a  pillared  balcony  towards  the  arched  entrance  of  an  ecclesiastical 
edifice.   The  pavement  is  strewn  with  ripe,  red  apples  and  luscious  pears, 


12 


CATALOGUE 


and  from  the  garlanded  balcony  overhead  "cowled  heads"  are  gazing  npon 
the  scene  below.  The  fruit  has  been  purposely  scattered  in  the  children's 
path,  to  try  the  truth  of  the  "brother's"  words:  that  he  could  trust  them 
all  to  pass  alone  without  yielding  to  a  temptation  so  great  for  childhood. 
Many  are  the  longing  looks  cast  by  the  younger  ones  at  the  ripe  fruit,  but 
only  for  one  has  the  ordeal  so  far  proved  too  great,  and  he,  poor  little  fellow, 
is  vainly  trying  to  conceal  the  stolen  apple  behind  his  back. 


Roegge  has  represented  Marguerite  bowed  down  in  the  agony  of  remorse 
before  a  shrine  of  the  Mater  Dolorosa.  A  bunch  of  flowers,  her  prayer  book 
and  rosary,  lie  on  the  stone  steps  below,  while  in  the  utter  abandonment 
of  grief,  Marguerite  implores  the  intercession  of  the  Mother  of  Sorrows. 

The  best  interpretation  of  the  picture  can  be  found  in  Goethe's  own  words: 


which  are  thus  translated  by  Miss  Swanwieck : 


"  Ah  rich  in  sorrow,  thou 
Stoop  thy  maternal  brow, 
And  mark  with  pitying  eye  my  misery ! 

The  sword  in  thy  pierced  heart 

Thou  dost  with  bitter  smart 

Gaze  upwards  on  thy  Son's  death  agony. 

To  the  dear  God  on  high 
Ascends  thy  piteous  sigh 
Pleading  for  His  and  thy  mute  misery. 

Ah,  who  can  know 
The  torturing  woe 

That  harrows  me  and  racks  me  to  the  bone? 

How  my  poor  heart  without  relief 
Trembles  and  throbs,  its  yearning  grief 
Thou  knowest,  Thou  alone  ! 

Ah !  whereso'er  1  go, 

With  woe,  with  woe,  with  woe, 

My  anguished  breast  is  aching ! 

Wretched,  alone  I  keep, 
I  weep,  I  weep,  I  weep, 
Alas !  my  heart  is  breaking." 


38.    ROEGGE,  WILHELM. 


FAUST'S  MARGUERITE. 


Ach  neige 

Du  Schmerzensreiche,  etc., 


39.  UNKNOWN. 


BOY  AND  FALCON. 


CROCKER  ART  GALLERY.  13 


40.  BERGEN. 

THE  FLAGEOLET  PLAYER. 

In  a  humble  interior  a  peasant  lad  is  playing  the  flageolet,  while  a  younger 
child  listens  attentively. 


41.    KOCKERT,  J.  Munich. 

ST.  JOHN'S  EVE. 

A  group  of  peasants  in  different  attitudes,  celebrating  St.  John's  Eve. 
The  reflection  of  the  fire  upon  the  faces  and  figures  to  the  left,  is  very 
effective.  A  young  girl  to  the  right  of  the  group,  stands  half  in  the  tire-light, 
half  in  shadow,  waving  her  hat  as  an  answering  greeting  to  some  one  not 
seen  on  the  picture.  St.  John's  fires  are  gleaming  on  all  the  distant  moun- 
tain crests. 


42.    DIETRICH,  FRANZ.  Dresden. 

PROCLAMATION  OF  PEACE  AFTER  THE  THIRTY  YEARS' 

WAR. 

A  composition  containing  about  seventy  figures  in  the  foreground  and  on 
the  sides,  besides  an  immense  number  more  indistinctly  seen  in  the 
distance.  Young  and  old  have  come  without  the  town  to  receive  the  glad 
tidings  of  peace,  which  are  brought  by  twelve  youths,  crowned  with  flowers 
and  clad  in  flowing  garments,  who  are  advancing  slowly  down  the  road. 
One  bears  a  scroll  of  parchment  in  his  left  hand,  the  others  carry  olive 
branches.  Some  of  the  people  are  on  their  knees,  while  others  stand  gazing 
upwards,  in  mute  giatitude  to  Heaven.  Here  and  there,  those  whom  the 
cruel  war  has  made  widows  and  fatherless,  indulge  in  silent  grief,  unable  to 
participate  in  the  universal  joy.  To  the  left  appear  the  steeples  and 
buildings  of  a  town,  and  from  a  half  ruined  tower  flies  the  white  flag  of 
peace.  In  the  distance,  to  the  right,  troops  are  seen  returning.  A  river,  the 
Rhine,  probably,  winds  its  serpentine  course  through  the  distant  landscape, 
dotted  along  its  banks  with  towns  and  villages,  and  castled  crags,  and  over 
all,  in  the  blue  sky,  gleams  the  rainbow  of  promise. 


43.    SIEBOLD,  C.  1759. 

MARIA  THERESA,  EMPRESS  OF  AUSTRIA. 

The  Empress  of  Austria,  and  Queen  of  Hungary  and  Bohemia,  is  painted 
by  Siebold  in  her  maturity,  not  as  she  appeared  in  the  flush  of  youth  and 
beauty  before  her  faithful  Hungarians,  when,  in  1741,  she  put  herself  and  her 
infant  son  Joseph  under  their  protection,  and  they,  animated  with  the  most 
enthusiastic  loyalty,  drew  their  swords,  exclaiming:  "We  will  perish  for 
our  King,  Maria  Theresa !  " 


14  CATALOGUE 


44.  UNKNOWN. 

CAVALRY  FIGHT. 

In  the  foreground,  a  soldier  galloping  at  full  speed  has  just  fired  at  one  of 
the  enemy,  who,  with  his  horse,  lies  prostrate  on  the  ground.  Dense  smoke 
in  the  background,  to  the  right ;  to  the  left,  cavalry  skirmishing,  and  a  lurid 
sky. 


45.    VERONESE,  PAOLO.  (after) 

ABDUCTION  OF  EUROPA. 

Mythology  tells  us  that  Jupiter,  becoming  enamored  of  Europa,  the 
beautiful  daughter  of  King  Agenor,  of  Phoenicia,  appeared  in  the  guise  of  a 
snow-white  bull,  among  her  father's  herds.  Europa,  assisted  by  two  of  her 
maidens,  and  all  unconscious  of  deceit,  is  in  the  act  of  seating  herself  on  the 
animal,  who  kneels  to  receive  her,  and  licks  her  sandaled  foot. 


46.    BURDE,  F.  Berlin. 

PREACHING  IN  THE  WOODS. 

Quite  a  large  congregation  has  assembled  in  a  forest,  on  the  Baltic  coast, 
to  listen  to  a  sermon  preached  in  the  aisles  of  one  of  Nature's  grand 
cathedrals.  The  mellow  rays  of  the  sun,  falling  aslant  the  trees,  shine  upon 
the  variegated  hues  of  the  foliage,  and  illuminate  the  figures  to  the  right 
and  in  the  centre.  The  grouping  is  well  arranged,  and  the  distribution  of 
light  and  shadow  is  both  forcible  and  natural. 


47.    DE  KEYSER.  (after) 

RAPHAEL  PAINTING   THE   DUCHESS  JOANNA  OF 
ARRAGON.  . 

Joanna,  daughter  of  Ferdinand  of  Arragon,  and  wife  of  Ascanio  Colonna, 
Prince  of  Tagliacozzo,  was,  from  her  beauty,  surnamed  The  Divine.  There 
are  several  paintings  of  her  by  Raphael. 

De  Keyser  represents  her  seated  on  a  raised  dais,  under  a  canopy;  she  is 
clad  in  green  velvet,  and  appears  in  profile.  .Raphael  stands  near  the  centre 
of  the  picture,  palette  in  hand,  to  the  side  of  the  easel,  on  which  his  canvas 
rests.   Ladies  are  grouped  in  various  attitudes  in  the  apartment. 


48.    VAN  DER  WERFF,  ADRIAN  (after) 

MAGDALENE. 

The  small  painting  in  the  Royal  Pinakothek  in  Munich,  of  which  this  is  a 
copy,  is  considered  the  best  work  of  the  master. 

Adrian  Van  der  Werff  was  born  near  Rotterdam  in  1659,  and  died  in  1722. 
His  works  are  exceedingly  rare,  and  command  a  high  price.  Twenty-four 
of  his  principal  pictures  hang  in  the  Dusseldorf  Gallery. 


CROCKER  ART  GALLERY. 


15 


49.    SALVATOR  ROSA.  (after) 

PORTRAIT. 

Considerable  uncertainty  exists  with  regard  to  the  original  of  the  picture 
before  us;  many  connoisseurs,  however,  consider  it  to  be  a  portrait  of 
Salvator  Kosa  himself.  The  features  certainly  have  a  similarity,  although 
perhaps  not  a  striking  one,  to  the  portrait  of  the  artist  by  Maratti,  which  is 
well  known  by  the  medium  of  engravings,  and  this  opinion  is,  therefore, 
likely  to  be  well-founded. 

Salvator  Kosa  was  born  in  1615,  at  Borgo  <li  Kenella,  near  Naples,  and  died 
in  the  year  1673,  in  Rome. 


50.    HOLBEIN,  HANS.  (after) 

PORTRAIT  OF  MARTIN  LUTHER. 

The  face  ot  the  great  leader  of  the  German  Reformation  is  familiar  to  all. 
Luther  was  born  at  Eisleben,  a  small  town  of  Saxony,  in  U83,  ami  died  in 
the  same  place  in  1546. 


51.    VAN  AELST,  WILHELM.  Dutch  School 

ROSES  AND  BUTTERFLY. 


52.    MEISSNER,  ERNST.  Munich. 

CATTLE  AND  SHEEP. 

In  a  pretty  little  piece  of  landscape  a  girl  is  driving  her  herd  to  water. 
Two  of  the  cows  are  already  standing  in  the  stream,  while  the  remainder  of 
the  cattle  are  hurrying  to  quench  their  thirst  in  the  clear,  cool  water. 


53.    MINJON,  P.  H.  Brussels. 

STREET  IN  GHENT. 

The  street  here  depicted,  with  its  picturesque  old  houses  and  fantastic 
variety  of  gable  ends,  rising  stepwise  and  ornamented  with  scrolls,  lies  on 
the  Grand  Canal,  which  unites  the  quaint  old  Flemish  cities  of  Ghent  and 
Bruges. 


54.   MUHLIG,  MENO.  Dresden. 

ROYAL  HUNTING  FEAST. 

MuhMg's  picture  transports  us  to  a  veritable  scene  in  the  Middle  Ages. 
The  board,  graced  with  a  boar's  head,  is  spread  under  the  shadow  of  a 


16 


CATALOGUE 


venerable  oak,  and  the  cavaliers  grouped  around  in  every  conceivable 
attitude,  seem  to  be  doing  ample  justice  to  their  tankards  of  ale.  The  stag, 
lying  on  the  ground  to  the  left,  shows  that  the  hunters  Lave  earned  their 
least,  and  that  the  dogs  also  have  contributed  their  share  towards  the  day's 
sport. 


55.    VICTOR,  JAN.  .  Dutch. 

MOSES  IN  THE  DESERT. 

"  And  it  came  to  pass,  that  at  even  the  quails  came  up  and  covered  the 
camp."    Exod.  XVI,  v.  13. 

But  little  is  known  of  the  private  history  of  this  able  artist,  lie  was  of 
Flemish  origin, and  was  born  about  the  year  1600.  He  studied  in  the  school 
of  Rubens,  but  subsequently  adopted  the  manner  of  Rembrandt,  and  so 
closely  does  he  approach  that  master,  that  many  works  attributed  to 
Rembrandt,  doubtless  owe  their  paternity  to  Jan  Victor,  and  only  a  duly 
qualified  connoisseur  can  discriminate  between  the  two.  Victor,  or  as  he 
sometimes  signed  his  pictures,  Fictoor,  usually  chose  his  subjects  from  the 
Old  Testament.   He  died  about  1G70. 


56.    HILL,  THOMAS.  San  Francisco. 

GRAND  CANYON  OF  THE  SIERRAS. 

Yosemite  Valley,  California. 

Before  a  picture  like  Hill's  Yosemite,  portraying  scenery  of  such  marvel- 
ous and  solemn  grandeur,  we  fall  into  silent,  awe-struck,  wondering  admira- 
tion.  Truly  its  "beauty  needs  not  the  painted  flourish  of  your  praise." 


57.    THOMPSON,  H.  London. 

ONE  OF  THE  FIRST  SMOKERS. 

Along  with  the  discovery  of  America,  we  owe  to  Columbus  our  first 
knowledge  of  the  fragrant  weed  ;  but  to  Sir  Walter  Raleigh  is  due  the  honor 
of  introducing  its  use  into  England.  It  is  probably  a  contemporary  of 
his,  who  stands  smoking  before  the  court  lady  in  the  high  ruff,  but  among 
the  "first  smokers,"  we  must  not  overlook  the  monkey  to  the  right  of  the 
picture,  who  keeps  his  pipe  in  his  mouth  with  the  utmost  sang-froid, 


58.    VOLLMAR.  Munich. 

PAYING  HIS  ADDRESSES. 

December  is  once  more  wooing  May,  or  in  other  words,  an  old  and 
wrinkled  bachelor  is  paying  his  addresses  to  a  charming  young  maiden, 
who,  to  tell  the  truth,  seems  somewhat  loth  to  receive  his  attentions. 


CROCKER  ART  GALLERY. 


17 


59.    LEISTEN,  J. 

LAWYER'S  CONSULTATION. 

Two  individuals  are  seated  at  a  table  in  a  lawyer's  sanctum.  One,  a 
young  peasant  in  red  vest  and  shirt  sleeves,  leans  his  elbows  on  the  table, 
and  bends  forward  with  much  earnestness  and  some  anxiety,  while  the 
other,  a  lawyer  in  dressing  gown  and  smoking  cap,  discourses  about  the 
severely  legal  looking  document  between  them. 


60.    TEIX.  Dresden. 

TRIAL  OF  CHARLES  THE  FIRST  OF  ENGLAND. 

"  On  the  20th  of  January,  1649,  the  sittings  of  the  tribunal  were  opened  with 
great  ceremony  at  Westminster  Hall,  and  although  the  king  steadily 
denied  the  authority  of  his  judges,  they  sentenced  him  to  death  on  the  27th 
of  January,  as  a  'Murderer,  Tyrant,  and  Enemy  of  the  People.'  " 

Never  have  the  misfortunes  of  a  prince  furnished  more  themes  for  poet 
and  painter,  than  those  of  him  who  has  been  alternately  represented  as  a 
royal  martyr,  or  an  execrable  tyrant.  But  the  calm  dignity  with  which  he 
bore  his  misfortunes,  his  unaffected  piety  and  his  attachment  to  the  Church, 
must  win  for  him  the  respect  of  even  those  most  opposed  to  him  in  politics 
and  religion. 


61.   MUHLIG,  MENO.  Dresden. 

RETURN  FROM  THE  HUNT. 

Companion  piece  to  No.  54.  A  jolly  party  galloping  home,  from  what  has 
evidently  been  a  successful  hunt.  We  can  hear,  in  fancy,  the  clattering  of 
hoofs,  the  barking  of  dogs,  the  jovial  laugh  of  the  cavaliers,  and  the  scolding 
voice  of  the  woman  on  the  door-step,  who  with  raised  hand  is  about  to 
inflict  summary  punishment  upon  the  mischievous  little  pages,  who  have 
made  away  with  some  of  her  delicacies. 


62.   RUBENS,  PETER  PAUL.  (after) 

THE  GARLAND  OF  FRUIT. 

The  picture  in  the  Royal  Pinakothek  in  Munich,  from  which  this  is  copied, 
is  considered  especially  characteristic  of  the  master's  style.  "With  little  or 
no  attempt  at  ideal  refinement,  the  forms  of  the  children  are  perfectly 
graceful  and  natural." 


63.    WEBER,  ANTOINE.  Paris. 

THE  RESPONSE. 

A  young  lady,  in  a  decollete  dress  of  blue  satin,  stands  in  a  pensive  atti- 
tude before  a  table  on  which  lie  writing  materials  and  the  letter  which 
2 


1 8  CATALOGUE 


she  is  about  to  answer.  To  judge  from  the  expression  of  her  counte- 
nance, she  has  evidently  not  yet  quite  decided  upon  the  spirit  of  her  reply. 
To  the  right  we  have  a  glimpse  of  a  grate  fire,  a  marble  mantel-piece  sur- 
mounted by  a  mirror,  a  vase,  and  a  portion  of  a  clock,  while  the  heavy  folds 
of  an  amber  curtain  conceal  the  window  to  the  left.  The  expression  and 
attitude  of  the  young  lady  are  excellent,  and  the  rich  satin  drapery  is 
beautifully  painted. 


64.    DE  KEYSER,  THEODORE,  (after) 

VANDYCK  BIDDING  ADIEU  TO  RUBENS. 

In  1619,  when  twenty  years  of  age,  Vandyck,  following  the  advice  of 
Rubens,  left  Antwerp,  to  prosecute  his  studies  in  Italy.  Mounted  on  a 
magnificent  white  charger,  the  parting  gift  of  his  friend  and  instructor,  he 
is  making  his  adieux  to  his  Flemish  friends.  Rubens,  and  all  the  members 
of  his  household,  are  gathered  round  to  say  farewell  to  the  young  man, 
whose  fame  is  soon  to  rival  that  of  his  master. 


65.    REINHOLD,  BERNHARD.  Dresden. 

YOUNG  MASON  EATING  HIS  DINNER. 

In  spite  of  patched  and  tattered  clothing,  and  feet  guiltless  of  socks, 
thrust  into  ragged  shoes,  the  young  mason  before  us  looks  what  he  is,  one  of 
Nature's  prime  favorites.  What  a  noble  brow  and  speaking  eyes !  What  an 
intellectual  and  aristocratic  head!  He  is  preparing  to  eat  his  frugal  meal 
of  rye  bread  and  bologna  sausage,  to  which  a  few  cherries  are  added  by  way 
of  dessert.  As  he  sits  upon  the  stone  wall,  he  is  perhaps  dreaming  of  the 
glorious  future,  which  is  to  convert  the  little  mason  into  a  great  and  famous 
architect. 


66.    BAT  ONI,  POMPEO  GIROLAMO.  (after) 

MAGDALENE. 

The  famous  picture  in  the  Dresden  Gallery,  of  which  this  is  a  copy,  is 
conceded  by  all  to  be  Batoni's  masterpiece.  The  fair  penitent  is  seen 
reeling  in  a  rocky  valley,  beneath  the  shade  of  an  olive  tree,  engaged  in 
reading  the  Holy  Scriptures.  The  interest  which  their  study  has  excited  in 
her  mind  is  admirably  depicted  in  her  features,  while  the  skull,  on  which 
the  volume  rests,  indicates  that  the  sinner  whom  Christ  pardoned,  because 
she  had  loved  much,  "has  cast  behind  her  the  pomps  and  vanities  of  this 
evil  world." 

Batoni  was  born  at  Lucca,  Italy,  in  170S,  and  died  in  1781. 


CROCKER  ART  GALLERY. 


19 


67.  UNKNOWN. 

THE  DECLARATION. 

Under  the  blue  sky,  and  within  view  of  the  sea,  a  man  and  maiden  are 
seated  on  the  ground,  and  as  he  speaks  she  listens,  with  downcast  eyes,  to 
the  old,  oid  story. 


68.  OSTABE,  ISAAC  VAN.  Dutch  School. 

WOMEN  FIGHTING. 

The  quarrel  of  the  two  women  before  us  has  proceeded  from  words  to 
blows.  In  the  melee  a  chair  has  been  upset ;  altogether,  it  is  high  time  they 
were  separated  by  the  peasants  looking  on. 

Isaac,  the  brother  and  scholar  of  Adrian  Van  Ostade,  was  born  at  Lubeck, 
in  1612.  Most  of  his  pictures  represent  interiors  of  peasant  life. 

69.  UNKNOWN. 

FISHERMEN. 

Several  fishing  smacks  are  just  putting  out  from  shore.  The  boat  in  the 
foreground  contains  three  figures,  two  men  and  a  woman. 

70.  ZIMMERMAN,  REINHARD  SEBASTIAN. 

Munich. 

THE  CIRCULATING  LIBRARY. 

A  composition  of  nineteen  figures,  disposed  in  various  attitudes,  reading, 
conversing,  and  selecting  books.  The  expressive  countenances,  and  the 
capital  grouping,  make  this  a  very  effective  picture. 


71.    MURILLO,  BARTHOLOME  ESTEBAN. 

Spanish  School. 

A  GYPSY. 

In  this  picture  the  connoisseur  recognizes  at  a  glance  the  master  hand  of 
Murillo.  The  squalid  attire  and  surroundings  of  the  weird,  witch-like 
creature,  the  attendant  ape,  fit  companion  for  a  being  who  appears  scarcely 
human  in  her  repulsive  hideousness,  are  portrayed  with  wonderful  art  and 
expression,  and  reveal  the  touch  of  him,  in  whom  "all  the  glories  of  Spanish 
art  were  united,  as  it  were,  into  one  focus."  Murillo,  like  Rubens,  the  only 
master  of  his  age  that  can  be  compared  with  him  in  talent,  "possessed  an 
almost  incredible  fertility,  a  widely  extended  reputation,  and  most  amiable 
qualities." 

Bartholme  Esteban  Murillo  was  born  at  the  little  town  of  Pilas,  near 
Seville,  in  1618,  and  died  in  1685. 


20  CATALOGUE 


72.   KAULBACH,  HERMANN.  Munich. 

THE  FIRST  CONFESSION. 

In  front  of  the  confessional,  in  the  centre  of  this  exquisite  picture,  kneels 
a  young  girl,  making  her  whispered  confesson  to  the  priest,  who  is  dimly 
discernible  through  the  lattice  work.  In  the  foreground  a  kneeling  girl  is 
reading  over  her  notes,  so  that  she  may  forget  no  sin,  however  venial,  when 
it  is  her  turn,  striking  her  breast  to  say:  "meet  culpa,  meet  culpa,  mea 
maxima  culpa!'1''  The  hoy  by  her  side  looks  as  if  he  were  trying  to  catch  a 
glimpse  of  the  paper.  An  old  lady,  her  daughter  and  grandson,  and  a  young 
girl  and  old  gentleman,  occupying  pews  to  the  right  of  the  spectator,  are,  as 
well  as  a  woman  who  has  laid  down  her  market  basket,  and  humbly  kneels 
upon  the  pavement,  engaged  with  their  devotions.  All,  except  perhaps 
the  beggar  in  the  background,  appear  to  be  waiting  their  turn  at  the  confes- 
sional. In  the  backgroTTncl,  to  the  left,  we  see  an  altar,  draped  and  adorned 
with  crucifix  and  candles ;  and  suspended,  to  the  right,  a  silver  veilleuse 
sheds  its  dim,  undying  light. 


73.    D'UNKER  and  VON  WILLE.      Dutch  School. 

THE  INTERRUPTED  GAMESTER. 

The  interior  of  a  tavern ;  a  game  of  cards  has  just  been  interrupted  by  the 
arrest  of  one  of  the  parties,  upon  whose  blanched  and  terror-stricken  coun- 
tenance the  impression  of  guilt  is  strongly  stamped. 


74.   RENI,  6UID0.  Bolognese  School. 

AVARICE. 

The  head  before  us,  with  its  marvelously  characteristic  expression,  is  a 
splendid  study. 

Guido  Reni,  the  greatest  of  the  scholars  of  the  Caracei,  was  born  at 
Bologna,  in  1575.  "His  earlier  pictures  display  a  striving  after  the  grand 
and  terrible,  with  a  powerful  effect  of  light  and  shadow,  similar  to  that 
observed  in  the  works  of  Caravaggio ;  but  his  later  style,  by  which  he  is  best 
known,  is  remarkable  for  its  sweetness  and  tenderness.  His  heads  show  the 
influence  of  a  careful  study  of  the  antique." 

Guido  died  in  1642. 


75.    WOLF,  F. 

THE  LOVE  LETTER.  * 

In  a  modest  interior,  a  girl  seated  at  a  work-table  is  trying  to  conceal  a 
letter,  about  which  she  is  being  rather  sharply  questioned  by  her  mother. 


CROCKER  ART  GALLERY. 


21 


76.   MARC,  W.  Munich. 

EQUALITY  OF  RANK. 

A  group  of  little  girls  are  playing  on  the  village  green,  under  the  spreading 
branches  of  some  noble  trees.  The  "little  lady  "  of  the  party  has  gone  up  to 
two  bashful  peasant  lads,  whom  she  is  inviting  to  join  in  the  sport,  and  three 
of  the  little  ones  stand  by,  watching  with  considerable  curiosity  the  result 
of  her  overtures. 


77.   HAHN,  WILHELM.  San  Francisco. 

MARKET  SCENE,  SANSOME  STREET,  SAN  FRANCISCO. 

This  life-like  picture  must  look  familiar  to  all  who  have  ever  paid  a  morn- 
ing visit  to  Sansome  street.   The  market  is  now  removed  from  that  locality. 


78.    HUBNER,  CARL.  Dusseldorf. 

THE  VILLAGE  ON  FIRE. 

In  this  magnificent  painting,  Hubner  has  represented  in  the  most  vivid 
colors  all  the  horrors  of  a  conflagration.  We  can  almost  fancy  that  we  hear 
the  crackling  of  the  flames,  mingled  with  the  bellowing  of  cattle  and  human 
cries  of  distress.  The  figures  forming  the  central  group  are  a  woman,  held 
back  by  her  children,  but  stretching  out  her  arms  to  receive  the  little  one, 
rescued  from  a  terrible  death  by  the  brave  man  descending  the  breaking 
ladder;  an  aged  grandmother,  kneeling  upon  the  ground  writh  clasped 
hands,  and  a  young  girl  by  her  side  gazing  upwards  with  suspense  and 
gratitude  in  her  countenance.  All  these  figures  are  worthy  of  careful  study. 
The  ground  is  strewn  with  the  goods  and  chattels  of  a  surging  mass  of 
human  beings,  and  overhead  and  in  the  background,  the  dark  sky  is  fitfully 
illuminated  by  the  reflection  of  the  flames. 


79.    UNKNOWN.  Russian  School. 

POPE  OF  GREEK  CHURCH. 

A  patriarchal  figure  attired  in  the  rich  vestments  of  his  order.  Doubtless 
a  portrait.   It  is  ascribed  to  a  Russian  painter  of  the  seventeenth  century. 


SO.    VERONESE,  PAOLO,  (after) 

THE  MARRIAGE  IN  CANA. 

The  moment  chosen  by  the  artist,  is  that  in  which  the  "governor  of  the 
feast"  is  addressing  the  remonstrance  to  the  bridegroom:  "Everyman  at 
the  beginning  doth  set  forth  good  wine,  and  when  men  have  well  drunk, 
then  that  which  is  worse;  but  thou  hast  kept  the  good  wine  until  now." 
John  II,  10. 

The  original  of  this  painting  is  in  the  Dresden  Gallery. 


22 


CATALOGUE 


81    QUELLINUS,  ERASMUS.         Flemish  School 

ST.  ANTONIUS. 

Half  length  figure  of  St.  Antony,  of  Padua.  The  Saint  is  represented  with 
his  usual  attributes.  The  infant  Christ  is  on  his  right  arm,  the  lily  is  at  his 
feet. 

Quellinus  was  horn  at  Antwerp  in  1607,  and  died  in  1678. 


82.    CHOULANT,  THEODORE  Dresden. 

VIEW  IN  VENICE. 

A  line  of  venerable  looking  buildings,  casting  their  mysterious  shadows 
upon  the  bosom  of  the  deep,  blue  sea.  To  the  left,  some  vessels  lie  at 
anchor,  and  three  gondolas  are  calmly  floating  by. 


83.  AERTTINGER. 

INVASION  OF  PERSIA  BY  THE  RUSSIANS  UNDER  PRINCE 
PASCOVITCH,  IN  1829. 

The  central  figure  in  the  picture  is  Ivan  Fedorowitch  Pascovitch,  Prince  of 
Warsaw,  and  Field  Marshal  of  Russia,  appointed  by  Nicholas,  Commander 
in  Chief  of  the  Russian  Array  in  the  second  year  of  the  war  against  Persia. 
He  is  mounted  on  a  white  charger,  preceded  and  followed  by  detachments 
of  troops,  and  multitudes  of  Persians  have  flocked  around  to  see  and  do 
homage  to  the  conqueror.  The  soldiers  with  their  glittering  bayonets,  the 
flags  of  the  marching  regiments  and  those  flying  from  the  battlements, 
make  up  a  grand  martial  display,  and  the  oriental  costume  of  the  Persians 
add  not  a  little  to  the  effect  of  this  fine  painting. 


84.    HASENCLEVER,  JOHN  PETER.  Dusseldorf. 

THE  EXAMINATION  OF  HIERONYMUS  JOBS. 

This  forms  the  last  of  a  series  of  three  pictures  by  Hasenclever,  illustrative 
of  the  University  student's  career,  and  is  remarkable  for  keen  satire  and 
nice  discrimination  of  character.  The  subject  is  taken  from  the  popular 
German  poem,  called  the  "Jobsiad,"  caricaturing  the  career  of  a  German 
student  and  German  Universities  seventy  years  ago. 

From  the  famous  German  drollery  called  the  "Jobsiad,"  or  "The  Life, 
Opinions,  Actions  and  Fate  of  Hieronymus  Jobs,"  a  very  short  extract  will 
here  suffice : 

"  The  professors  express  great  gratification,  . 

Only  they  hope  I  will  use  moderation, 

And  not  wear  out,  in  my  studies, 

Philosophicis  and  Theologicis. 
"  It  would  savor,  dear  parents,  of  self-laudation, 

To  enter  on  an  enumera  tion 

Of  all  my  studies— in  brief,  there  is  none 

More  exemplary  than  your  son." 

[Extract  of  Letter  from  Hieronymus  Jobs. 


CROCKER  ART  GALLERY. 


23 


85.  ACHENBACH,  C. 

FESTIVAL  AND  FIREWORKS   BY  MOONLIGHT,  AT 
RESINA,  ITALY. 

86.  LANDSEER.  (after) 

THE  HORSE  SHOER. 


87.    RISSE,  R. 

THE  SLEEPING  BEAUTY. 

"  She  sleeps,  nor  dreams,  but  ever  dwells 
A  perfect  form,  in  perfect  rest. 

#**#***#'. 

More  close  and  close  his  footsteps  wind  ; 
The  magic  music  in  his  heart 
Beats  quick  and  quicker,  till  he  find 
The  quiet  chamber  far  apart. 
His  spirit  flutters  like  a  lark ; 
He  stoops — to  kiss  her— on  his  knee. 
'  Love,  if  thy  tresses  be  so  dark, 
How  dark  those  hidden  eyes  must  be  ! '  " 

Only,  unfortunately  for  the  quotation,  while  the  Laureate's  "Sleeping 
Beauty  "  has  jet-black  hair,  Risse's  Dornroschen,  true  to  the  German  ideal, 
is  a  blonde. 


88.    BAER,  PROF.  Dresden. 

THE  ANABAPTISTS. 

In  front  of  his  dwelling,  in  Munster,  Johann  von  Leyden  is  baptizing  the 
daughter  of  his  prophet,  Dusentschuer,  whom  he  afterwards  married.  On 
his  left,  stand  his  co-regents:  Rollman,  the  priest,  holding  the  book,  "de 
libertate  Christiana,'"  under  his  arm,  and  Knipper  dolling,  in  executioner's 
garb,  with  the  sword.  Behind  these  appear  two  of  his  twelve  dukes,  the  co- 
regents  of  the  world.  In  the  foreground,  a  kneeling  monk,  seized  with 
fanaticism,  is  pressing  forward  to  the  anabaptism.  In  obedience  to  the 
King's  command,  that  all  gold  and  silver  is  to  be  delivered  up  to  him,  a 
maiden  is  bringing  her  trinkets  and  valuables  to  lay  at  the  sovereign's  feet. 
Attired  in  her  white  baptismal  robes,  Dusentschuer'1  s  daughter,  the  picture 
of  innocence  and  devotion,  kneels  before  Johann,  and  receives  upon  her 
bowed  head  the  water  of  anabaptism.  The  boy,  holding  the  vessel  of  water, 
was  a  natural  son  of  the  Bishop  of  Munster,  and  in  his  captivity  served  as 
page  to  the  King.  His  garments  are  blue  and  brown,  to  typify  that  his  King 
is  Lord  of  Heaven  and  Earth.  Behind  the  maiden  kneels  Dusentschuer,  the 
second  John  the  Baptist.  Instead  of  a  sheepskin,  a  wolfskin  covers  his 
shoulders,  and  on  his  banner  is  inscribed  the  sanguinary  motto  of  the 
Anabaptists :   "dat  Wort  is  Flesch  worden."  By  his  side  appears  Hilla,  the 


24  CATALOGUE 


new  Judith,  in  a  state  of  ecstasy.  Behind  her  follow  groups  of  the  people, 
representing  Stupidity,  Remorse,  Indolence,  and  Anguish  of  Mind.  Armed 
men  mingle  in  the  crowd,  for  the  protection  of  the  newly  established  Zion. 
Albot,  Burgomaster  of  Munstei\and  his  wife,  both  heartily  grieved  at  the 
new  regime  of  the  fanatics,  are  seen  at  the  window  immediately  overlooking 
this  scene.  The  Ludgheri  Church  is  visible  in  the  background,  but  as  if  to 
carry  out  the  words  of  Scripture,  that  whatsoever  exalteth  itself  shall  be 
humbled,  its  spire  is  broken.  Pictures  and  books  are  being  burned  in  the 
square  in  front  of  the  church,  for  New  Zion  has  her  King  and  her  Prophets. 

The  above  description  of  the  painting — "The  Anabaptists" — was  written 
by  the  poet  Julius  Mosen. 


89.    GENZ,  W. 

EGYPTIAN  HAREM  TAKING  A  WALK. 

"And  such  sweet  girls;  I  mean  such  graceful  ladies; 
Their  very  walk  would  make  your  bosom  swell ; 
I  can't  describe  it,  though  so  much  it  strike, 
Nor  liken  it — I  never  saw  the  like." 

Preceded  by  a  eunuch  and  attended  by  Nubian  slaves,  the  wives  of  a 
Mohammedan  of  rank  and  wealth  are  taking  their  morning  walk.  They  are 
all  handsome,  but  the  foremost  one  certainly  bears  away  the  palm  for 
beauty.  Arrayed  in  costly  draperies  which  fall  around  her  with  native 
elegance,  she  steps  with  a  regal  grace,  that  proclaims  her  at  once  the  favorite 
and  queen  of  the  harem. 

The  ladies  seem  to  have  passed  some  object  of  interest,  for  all  except  the 
last,  in  yellow  satin  tunic,  have  slightly  turned  their  heads  to  glance  behind, 
but  she,  for  the  moment,  is  too  deeply  intent  upon  the  flower  in  her  hand, 
and  we  can  almost  hear  her  murmuring :  "  He  loves  me,  he  loves  me  not." 

Carried  in  the  arms  of  a  slave,  is  a  baby,  so  sweet  and  beautiful,  that  we 
are  irresistibly  impelled,  before  leaving  this  picture,  to  turn  from  the  dark, 
languishing  eyes  and  Hebe-like  forms  of  these  houris;  for  one  more  glance 
at  its  infant  loveliness. 


90.    RUBENS,  PETER  PAUL.  (after) 

ABDUCTION  OF  EUROPA. 


Berlin. 


91.   BAKOFKY.  Moscow. 

VANITY. 

A  lady  in  pink  satin,  holding  a  mirror  in  her  hand.  Her  back  is  turned  to 
the  spectator  as  she  looks  over  her  shoulder  to  arrange  the  folds  of  her  train. 


CROCKER  ART  GALLERY. 


25 


92.    BE  VOS.  Brussels. 

WAITING  PATIENTLY. 

A  monkey,  in  a  scarlet  jacket  braided  with  gold,  is  seated  on  the  ground, 
resting  his  head  on  a  white  poodle.  Another  dog  is  sitting  beside  a  drum 
and  bugle,  and  all  are  waiting  their  turn,  to  appear  before  an  admiring 
audience. 


93.    ECKHOUT,  G.  VAN  BEN         Butch  School. 

CHRIST  AT  EMMAUS. 

"And  it  came  to  pass,  as  he  sat  at  meat  with  them,  he  took  bread  and 
blessed  it,  and  brake  and  gave  to  them. 

"And  their  eyes  were  opened  and  they  knew  him."   Luke,  XXIV,  30,  31. 

Gerbrandt  Van  den  Eckhout,  born  at  Amsterdam  in  1621,  is  considered  the 
most  eminent  of  Rembrandt's  pupils.  To  him  especially  descended  the 
master's  gift  of  composition  and  peculiar  conception  of  Biblical  subjects. 
He  died  in  1674. 


94.    MULLER,  MRS.  JOHANNA.  Busseldorf. 

THE  TRIO. 

In  this  charming  conversation  piece,  Mrs.  Muller  gives  us  a  glimpse  of  life 
in  the  18th  century.  Almost  in  the  centre  of  the  picture,  a  lady  seated  at 
the  harpsichord,  with  her  back  to  the  spectators,  and  a  gentleman  to  her 
left  playing  the  violoncello,  are  accompanying  the  voice  of  a  young  girl 
dressed  in  pink.  A  lady  in  amber  satin  petticoat  and  brocade  train,  her 
face  seen  in  profile,  stands  by  the  chair  on  the  right,  trying  to  rouse  the  old 
gentlemen,  attired  in  richly  embroidered  satin  and  velvet,  from  the  nap  to 
which  he  has  been  lulled  by  his  daughter's  music.  The  paneled  walls,  the 
lace  drapery  about  the  window,  and  the  sunlight  illuminating  the  blue 
brocade  silk  of  the  musician  and  resting  upon  the  polished,  inlaid  floor,  add 
much  to  the  effectiveness  of  this  exceedingly  pretty  picture. 


95.    MANSEAU,  A. 

FRANCIS  JOSEPH,  EMPEROR  OF  AUSTRIA. 

The  Emperor,  attired  in  the  Austrian  uniform,  is  mounted  on  a  magnifi- 
cent white  charger.  The  piece  is  exceedingly  fine,  both  as  a  picture  and  a 
likeness,  and  the  horse  is  superb.  Francis  Joseph  was  born  in  1830,  and  his 
uncle  having  abdicated  in  his  favor,  he  succeeded  to  the  throne  in  1848.  He 
was  married  in  1854  to  Elizabeth,  of  Bavaria. 

The  artist's  real  name  is  Emil  von  Flartitzoch. 


26  CATALOGUE 


96.    REMBRANDT.      (School  of  ) 

PORTRAIT. 

Head  of  a  man  somewhat  advanced  in  years.  Painted  in  the  style  of 
Rembrandt. 


97.    GILLE,  ROBERT. 

PORTRAIT. 

Portrait  of  a  peasant  at  an  open  window. 


98.    MENGS,  CAV.  ANTONIO  RAFFAELLE. 

German. 

PORTRAIT  OF  A  NOBLEMAN. 

The  rich  green  cloak,  trimmed  with  fur,  reveals  part  of  a  scarlet  doublet 
and  jeweled  collar,  and  the  red  turban-like  cap  is  similarly  adorned  with 
precious  stones. 

Mengs  was  born  at  Aussig,  in  Bohemia,  in  1728.  "  The  principal  peculiarity 
of  his  style  is  great  beauty  of  form,  and  profound  knowledge  of  the  human 
figure ; "  but  Nature  having  denied  him  inventive  fancy  and  warmth  of 
feeling,  his  pictures  "present  the  aggregate  of  very  desirable  qualities, 
which,  however,  without  the  creative  and  vivifying  spark,  leave  the  specta- 
tor cold.  The  most  successful  of  his  various  works  were  his  protraits, 
because  truth  of  conception,  correct  drawing,  good  coloring,  and  masterly 
treatment'  are  sufficient  excellencies  in  this  line  of  art."  He  died  at  Home, 
in  1774. 


99.    HIDDEMANN,  F.  Munich. 

RETURN  HOME  FROM  AMERICA. 

In  a  humble  interior,  a  German  peasant  family  is  about  sitting  down  to 
the  frugal  mid-day  meal,  at  a  table  to  the  left.  In  the  background,  to  the 
right,  a  door  has  just  opened,  admitting  a  handsome,  middle-aged  gentle- 
man, whose  dress  and  appearance  proclaim  him  to  be  a  man  of  wealth  and 
refinement,  accompanied  by  his  negro  valet,  and  followed  by  a  crowd  of 
curious,  staring  peasants,  and  their  children.  The  aged  woman  has  turned 
and  risen  at  the  sound  of  the  opening  door  and — a  mother's  eyes  are  keen — 
in  the  handsome,  noble-looking  gentleman  before  her,  she  recognizes  her 
long-lost  son,  and,  uttering  a  cry  of  joy,  she  hastens,  with  outstretched  arms, 
into  his  embrace..  With  a  picture  like  this,  description  or  comment  is  super- 
fluous, since  the  artist  has  told  the  story  so  cleverly  that  you  take  in  the 
situation  at  a  glance. 


CROCKER  ART  GALLERY.  27 


100.   NAHL,  CHAS.  C.  San  Francisco. 

THE  LOVE  CHASE. 

It  was  customary  with  the  Arabs,  when  a  young  man  wooed  the  daughter 
of  a  Sheik,  that  the  father  should  give  his  best  horse  to  the  maiden,  and 
another  to  her  suitor.  If  the  girl  was  favorably  disposed  towards  the 
intended  bridegroom,  she  would  rein  in  her  steed,  thus  giving  him  an 
opportunity  of  overtaking  her;  if,  on  the  contrary,  she  disliked  him,  she 
urged  her  horse  to  its  utmost  speed.  This  picture  represents  a  fair  lady, 
evidently  extremely  willing  to  be  captured,  and  giving  her  lover  every 
possible  opportunity  of  winning  the  prize.  In  the  background  are  seated 
the  respective  fathers  of  the  young  couple,  while,  according  to  Arab  custom, 
a  camel  stands  ready  to  carry  home  the  bride. 


101.    VAN  DE  VELDE,  ADRIAN.      Dutch  School. 

CATTLE  PIECE. 

Some  cattle  and  asses  in  a  meadow,  and  a  man  resting  in  the  shade. 

Adrian  Van  de  Velde  was  born  at  Amsterdam,  in  1639.  "He  was  a  scholar 
of  Jan  Wynants,  and  ranks  almost  as  high  as  Paul  Potter;  for  if  inferior  to 
him  in  the  energy  of  conception  displayed  in  his  cattle,  in  plastic  modelling 
and  breadth  of  solid  execution,  he  excels  him  in  variety  of  subject,  in  taste 
for  composition,  delicacy  of  drawing,  and  in  a  certain  warmth  and  sweet- 
ness of  feeling."  He  has,  however,  this  in  common  with  Paul  Potter— that 
he  was  a  distinguished  artist  by  the  age  of  fourteen,  and  that  he  died  young, 
namely,  at  the  age  of  thirty-two. 


102.    TENIERS,  DAVID,  The  Younger,  (after) 

FLEMISH  TAVERN  SCENE. 

In  the  foreground,  two  men  playing  cards,  while  two  others  are  watching 
the  game,  pipe  in  mouth.  A  group  of  boors  are  in  conversation  near  a  fire 
in  the  background. 


103.   DE  CAWER,  L.  Ghent. 

TERRIER  AND  PUPPIES. 


104.    VAN  DER  WERE,  PETER.        Dutch  School. 

DIANA  AND  A  NYMPH. 

Represents  the  chaste  goddess  of  hunting  seated  in  a  rocky  glen,  a  Cupid 
at  her  knee,  and  a  nymph,  her  face  seen  in  profile,  standing  in  a  listening 
attitude  by  her  side.  Diana's  dogs  appear  to  the  right,  and  in  the  distance 
is  a  forest  cascade. 


28  CATALOGUE 


105.  UNKNOWN. 

CHILDREN. 

Two  little  curly  heads.  One,  a  merry,  dimpled  blonde,  sliows  her  full  face, 
while  that  of  the  little  brunette,  whose  right  arm  is  thrown  round  her  play- 
mate's neck,  appears  in  profile. 


108.    MUHLIG,  MENO.  Dresden. 

CAUGHT.  IN  THE  ACT! 

To  the  two  juvenile  poachers  taken  flagrante  delicto,  the  gamekeeper 
doubtless  appears  a  formidable  person  indeed,  and  one  cannot  help  pitying 
the  unfortunate  little  culprits. 


107.   BUSH,  N.  San  Francisco. 

SODA  SPRINGS,  SIERRA  NEVADA. 


108.   POTTER,  PAUL.  Dutch  School. 

LANDSCAPE  WITH  ANIMALS. 

The  cattle  are  reposing  in  the  quiet  landscape,  and  the  milkmaid  leaning 
against  the  trunk  of  an  old  gnarled  tree,  has  set  down  her  pails  to  enjoy  a 
conversation  with  her  lover. 

Paul  Potter  was  born  at  Enckhuysen  in  1625.  He  made  such  astonishing 
progress  in  the  study  of  painting,  that  he  ranked,  at  the  age  of  fifteen,  as  a 
finished  artist.  "  Of  the  masters  who  have  striven  pre-eminently  after  truth, 
he  is  beyond  all  question,  one  of  the  greatest  that  ever  lived."  He  died  at 
Amsterdam  in  1651. 


VAN  OER,  THEOBALD.  Dresden. 

FLIGHT  OF  MARIA  D'ESTE,  QUEEN  OF  JAMES  II  OF  ENG- 
LAND, FROM  WHITEHALL. 

"  Maria  Beatrice  d'Este,  Princess  of  Modena,  was  only  fifteen  years  old, 
and  remarkably  beautiful,  when  married  to  James  II,  then  old  enough  to  be 
her  grandfather,  and  was  to  him  through  all  the  ti-oubles  and  vicissitudes 
of  his  later  fortunes,  the  most  tender  and  devoted  wife." 

This  beautiful  picture  represents  her  flight  from  Whitehall  with  her  infant 
son  on  the  night  of  December  13th,  1688.  But  a  small  group  of  trusty 
adherents  are  present  to  witness  the  sad  scene.  Supported  by  the  hand  of 
the  French  Due  de  Lauzun,  the  Queen  is  about  to  step  into  the  open  boat, 
but  turns  her  beautiful  face  to  look  a  last  farewell  upon  the  palace  that  will 
henceforth  know  her  sweet  presence  no  more.  The  royal  babe  is  borne 
behind  her,  and  leaning  against  a  pillar,  the  "ancient  servitor  "  covers  his 


CROCKER  ART  GALLERY. 


29 


face  with  his  hands  to  conceal  the  tears  that  are  rolling  down  his  furrowed 
cheeks.  A  sprinkling  of  snow  covers  the  steps  leading  to  the  water's  edge, 
rests  on  the  pile  to  which  the  boat  is  fastened,  and  glistens  on  turret  and 
roof,  and  on  the  royal  arms  over  the  entrance.  Far  down  are  seen  the 
steeples  of  the  city,  conspicuous  among  them,  the  dome  of  old  St.  Paul's. 
Through  a  rift  in  the  clouds,  the  moon  sends  a  momentary  flood  of  silvery 
light  upon  the  rippling  waters  of  the  Thames,  and  seems  to  glance  with 
tender  pity  upon  the  exquisitely  touching  scene  below. 


110.  NEEFS,  PETER,  The  Elder.    Flemish  School 

CHURCH  INTERIOR. 

Painting  interiors  of  Gothic  churches  was  the  chosen  province  of  this 
painter.  His  style  is  similar  to  that  of  his  master,  Steenwyck,  whom  he, 
however,  excels  in  power  and  warmth  of  tone. 

Neefs  was  horn  at  Antwerp,  in  1570,  and  died  in  1651. 

111.  Old  German  School,  Fifteenth  Century. 

HOLY  FAMILY. 

112.  LEYBEN,  LUCAS  VAN.  Dutch  School. 

ABRAHAM  OFFERING  ISAAC. 

Luc  Jacohez,  called  Lucas  van  Ley  den,  may  justly  be  considered  the 
Patriarch  of  the  Dutch  School.  Born  at  Leyden,  in  1494,  "he  followed  that 
realistic  tendency,  in  the  treatment  of  sacred  subjects,  which  Huber  van 
Eyck  had  so  grandly  tracked,  and  lowered  it  greatly  from  its  previous 
elevation.  His  heads,  for  instance,  are  generally  of  a  very  ugly  character  ; 
at  the  same  time,  his  form  of  art  found  sympathy  in  the  feeling  of  the 
period." 

He  died  in  1533. 


113.   BACKHUYSEN,  L.  Butch  School. 

SHIPWRECK. 

Ludolf  Backhuysen,  born  at  Embden,  in  1631,  commenced  his  art  studies 
only  in  his  eighteenth  year,  and  devoted  himself  with  great  ardor  to  marine 
painting,  his  representations  of  the  "fearful  element "  speedily  raising  his 
reputation  higher  than  even  that  of  W.  Van  der  Velde. 

"While  the  tone  of  his  coloring  is  often  heavy,  his  storms,  both  in  the 
action  of  the  raging  waves,  and  in  the  clouds  which  are  rent  by  the  winds, 
have  a  grand  poetical  charm." 

Backhuysen  died  at  Amsterdam,  in  1709. 


30 


CATALOGUE 


114.  LITSCHAUR,  K.  J. 

ARMORER  AND  RAVEN. 

The  old  man,  taking  a  momentary  rest  from  his  labor,  seems  to  he  holding 
converse  with  his  companion,  the  raven. 

115.  EBEL,  F. 

GERMAN  LANDSCAPE. 

An  open  glade  in  a  forest.  Some  peasants  are  bringing  a  felled  tree  down 
the  road  on  an  ox-truck. 

116.  TITIAN,  VECELLI.  (after) 

SPRING. 

Spring  is  represented  as  a  young  woman,  her  flowing  tresses  crowned  with 
flowers,  and  holding  in  both  hands  a  basket  of  floral  offerings.  Her  head  is 
inclined  to  the  left,  and  her  blue  drapery  is  so  arranged  that  it  reveals  her 
shoulder  and  a  portion  of  her  bust. 

Titian  Vecelli,  or,  as  he  is  called  by  the  Italians,  Tiziano  Vecellio  da 
Cadore,  was  born  at  Cadore,  a  district  to  the  north  of  Venice,  in  1477.  As  a 
colorist,  his  name  stands  unrivalled  and  alone ;  and  as  a  painter  of  por- 
traits, he  is  undisputably  entitled  to  the  highest  rank.  During  his  long 
career  as  an  artist,  which  lasted  until  his  ninety-ninth  year,  he  executed  an 
immense  number  of  pictures,  among  the  most  famous  of  which  is  the  cele- 
brated altar-piece  in  the  Gallery  of  the  Vatican,  the  "  Tribute  Money,"  now 
in  the  Dresden  Gallery,  and  several  representations  of  Venus,  to  be  found  in 
the  different  galleries.  To  be  rightly  understood,  however,  the  works  of 
Titian  should  be  seen  at  Venice,  or  in  the  Royal  Palaces  at  Madrid,  and  in 
the  Escurial. 

Tiziano  died  of  the  plague,  in  1576. 


117.    TITIAN,  VECELLI.  (after) 

BACCHANTE. 

Depicted,  like  all  of  Titian's  female  figures,  with  flowing  hair,  the  Bac- 
chante's is  wreathed  with  grapes  and  vine  leaves.  Her  drapery  is  of  rich 
dark  crimson,  and  in  her  hand  is  a  goblet,  encircled  with  the  fruit  of  the 
vine. 


118.  ENGEL. 

THE  BATHERS  SURPRISED. 

In  a  sequestered  nook,  three  young  girls,  partially  disrobed,  are  reclining 
on  the  grassy  bank  of  a  crystal  stream.  One  fair  bather  is  hastily  scrambling 


CROCKER  ART  GALLERY. 


31 


out  of  the  water,  and  the  startled  expression  on  all  the  faces,  betrays  that 
some  unwelcome  step  has  invaded  their  retreat.  The  intruder  may,  how- 
ever, turn  out  to  he  hut  a  fawn,  or  some  other  equally  innocent  denizen  of 
the  forest. 


119.   KERGEL,  L.  Dresden. 

WINTER  SCENE  ON  THE  ALSTEN  NEAR  HAMBURG. 

A  bright,  wintry  landscape.  A  group  of  peasants,  a  man  drawing  a  load 
on  a  sledge,  a  woman  and  a  hoy  skating  hy  his  side.  To  the  left  we  see  some 
towers  and  a  windmill. 


120.    QUERFURTH,  AUGUSTUS.    German  School 

TURKISH  BATTLE. 

Small  painting  of  cavalry  encounter. 

Augustus  Querfurth,  horn  at  Wolfenhuttel,  in  1696,  was  a  scholar  of  Ru- 
gendas,  hut  formed  his  style  principally  from  that  of  Wouvermans.  "While 
far  inferior  to  Rugendas  in  fire  of  invention,  and  also  limited  like  Wouver- 
mans, in  the  scale  of  his  pictures,  he  excels  the  first  of  those  two  masters 
in  transparency  of  color,  solidity  of  impasto,  and  care  of  execution." 

Querfurth  died  at  Vienna,  in  1761. 


121    CRANACK,  LUCAS.  German  School 

ST.  SEBASTIAN. 

He  is  represented  without  drapery,  hound  to  a  tree,  and  looking  up  to 
Heaven. 

St.  Sebastian  was  martyred  by  order  of  the  Emperor  Diocletian,  A.  D.  288. 

Lucas  Cranack,  a  contemporary  of  Albert  Durer,  "painted  history  and 
portraits  in  the  stiff  and  formal  style  that  prevailed  previous  to  the  com- 
mencement of  its  reformation  by  Durer.  He  is  worthy  of  more  particular 
attention  as  an  engraver." 

Cranack  was  born  in  1472,  and  died  in  1553. 


122.    CARRACCI,  ANNIBALE.  Bolognese. 

BAPTISM  OF  CHRIST. 

"  Now  when  all  the  people  were  baptized,  it  came  to  pass,  that  Jesus  also 
being  baptized,  and  praying,  the  Heaven  was  opened,  and  the  Holy  Ghost 
descended  in  a  bodily  shape,  like  a  dove,  upon  him  ;  and  a  Voice  came  from 
Heaven,  which  said  :  Thou  art  my  Beloved  Son  ;  in  Thee  lam  well  pleased  !" 

Born  at  Bologna,  in  1560,  Annibale  was  the  most  distinguished  of  the 
brothers  Carracci.  His  principal  works  at  Rome  are  the  "Farnese  Gallery," 
and  the  "Miracle  at  Cana,"  in  the  chapel  of  the  palace.   At  Bologna,  the 


32  CATALOGUE 


"Annunciation,"  in  the  Church  of  the  Madonna  di  Galiera;  and  the  Dresden 
Gallery  contains  his  admirable  picture  of  "St.  Roch  Distributing  His  Wealth 
To  the  Poor." 
Annibale  Carracci  died  at  Rome,  in  1609. 


123.   JORDEANS,  JACOB.  Flemish  School 

THE  ELATED  TROUBADOUR. 

The  troubadour  before  us,  raising  his  glass  to  the  light,  and  already 
enjoying  in  anticipation  the  flavor  of  the  wine,  is  evidently  a  faithful 
worshiper  of  Bacchus. 

The  next  place  among  the  scholars  of  Rubens,  after  Vandyck,  is  unques- 
tionably occupied  by  Jacob  Jordeans,  born  at  Antwerp  in  1593.  His  early 
marriage  with  the  daughter  of  his  first  master,  Adam  van  Noort,  and  his 
connection  with  Rubens,  prevented  him  from  visiting  Italy,  but  he  attained 
to  great  eminence  in  Antwerp;  and  although  his  many  pictures  show 
unmistakably  "the  proximity  of  Rubens,  yet  his  own  artistic  nature  is 
strongly  expressed  in  them.  This  is  so  vehemently  realistic  in  character, 
as  to  degenerate  occasionally  into  the  rude  and  vulgar.  In  his,  as  compared 
with  Rubens'  far  narrower  sphere  of  invention,  the  humorous  takes  a  prom- 
inent place." 


124.   SEYDEL,  ED.  Dresden. 

THE  SOLDIER'S  RETURN. 

The  interior  of  a  German  country  inn.  To  the  right,  a  soldier  seated  at  a 
table,  relates  his  adventures  to  an  attentive  audience  of  men  and  women ; 
his  left  arm  encircles  the  little  child  by  his  side,  who  touches,  with  wonder- 
ing admiration,  the  medal  on  his  breast.  The  young  woman,  to  the  left  of 
the  hero,  stops,  in  the  act  of  grinding  her  coffee,  to  lend  a  more  attentive 
ear  to  the  interesting  recital.  Behind  them,  grandmother  steps  in  through 
the  opening  door,  her  left  arm  clasping  the  "  Wiekelkind^1  her  right  hand 
holding  a  tray  with  cups.  To  the  left,  some  card  players  at  a  table,  and  a 
boy  pulling  off  a  soldier's  boots,  while  a  pair  of  slippers  stand  ready  to  ease 
his  weary  feet.  In  the  middle  distance,  a  group  of  soldiers,  received  and 
welcomed  by  male  and  female  peasantry.  In  the  background,  through  the 
open  door,  we  have  a  glimpse  of  green  fields,  and  blue  sky  flecked  with 
white  clouds. 


125.   BAUMGARTNER,  P.  Munich. 

BLACKSMITH'S  SHOP  IN  THE  BAVARIAN  ALPS. 

Built  almost  into  the  stupendous  masses  of  the  grand  old  rocks,  is  a  very 
primitive  looking  shed,  which  does  duty  as  a  blacksmith's  shop.  In  front  of 
it,  is  fastened  a  well-packed  mule,  whose  hind  leg  a  brown-robed  mendicant 
friar  is  holding  up  to  the  sturdy,  muscular  blacksmith,  who  is  replacing  a 
missing  shoe.  To  the  right,  an  old  woman,  in  an  attitude  of  devotion,  and 
by  her  side,  a  little  barefoot  girl,  in  a  short  red  petticoat. 


CROCKER  ART  GALLERY. 


33 


126.    VAN  OER,  THEOBALD. 


Dresden. 


ST.  LUKE  PAINTING  THE  MADONNA. 


To  the  right,  sits  the  Saint,  in  a  brown  robe,  with  dark  green  drapery- 
falling  around  him;  his  left  hand  holds,  the  palette;  the  brush  is  in  his 
right.  A  curly-headed  cherub,  standing  before  St.  Luke  to  support  the 
canvas,  which  rests  on  the  artist's  knee,  looks  down  upon  another,  who 
stops,  with  an  upward  glance,  in  the  act  of  mixing  the  colors.  Two  cherubs 
are  descending  towards  the  group,  and  one  leans  over  the  Saint's  shoulder. 
The  face  of  the  latter  is  seen  in  profile,  as  he  gazes  intently  upon  the 
Madonna,  who,  the  upper  part  of  her  body  clothed  in  red,  but  otherwise 
completely  enveloped  in  blue  drapery,  is  seated  upon  clouds,  under  a  vine- 
clad  pillared  arch,  the  Divine  Infant  resting  on  her  lap.  Quite  to  the  left,  in 
the  foreground,  an  urn-shaped  vessel  holds  a  cluster  of  lilies— the  Blessed 
Virgin's  flowers. 


The  very  highly  finished  heads,  Nos.  127  and  129,  are  excellent  copies  of 
Christian  Siebold's  pictures  in  the  Dresden  Gallery. 

This  artist  was  born  at  Mayence,  in  1697,  and  died  at  Vienna,  in  1768.  "  The 
study  of  nature  alone,  enabled  him  to  become  a  very  clever  portrait 
painter,  in  the  manner  of  Denner,  who  must  doubtless  have  had  some 
influence  over  him.  His  art  was  so  much  admired  in  Vienna,  as  to  procure 
him  the  appointment  of  cabinet  painter  to  Maria  Theresa." 


128.   HASENCLEVER,  JOHN  PETER.  (after) 


This  picture  represents  one  of  those  trifling  misunderstandings,  which  are 
said  sometimes  to  qualify  the  bliss  attending  the  married  state,  and  thus 
prevent  it  from  becoming  too  intense  for  the  enjoyment  of  mere  mortals. 
The  Joppa,  or  loose  gray  coat  of  the  husband,  and  the  silver  Riegelhaube,  on 
the  head  of  the  wife,  show  the  loving  couple  to  be  inhabitants  of  Munich ; 
and,  judging  from  appearances,  we  should  say  the  lady  has  the  best  of  the 
argument,  as  she  has  evidently  reduced  her  partner  to  silence,  and  the 
never-failing  consolation  of  his  pipe. 


127.   SIEBOLD,  C. 


(after) 


PORTRAIT  OF  AN  OLD  MAN. 


MATRIMONIAL  SCENE. 


129.   SIEBOLD,  C. 


PORTRAIT  OF  AN  OLD  WOMAN. 


3 


34 


CATALOGUE 


130.   BORGOGNISSANTI,  LUIGI  PISANL  Rome. 

ST.  DOROTHEA. 

The  hands  of  the  youthful  Saint  are  crossed  upon  her  breast,  as  she  gazes 
upwards  in  an  attitude  of  rapt  devotion.  The  legend  tells  us,  that  when  St. 
Dorothea  was  led  to  execution,  a  young  lawyer  called  Theophilus  mocked 
her,  and  hade  her  send  him  fruits  from  the  garden  to  which  she  was  going; 
to  which  she  calmly  replied  that  his  request  should  he  granted.  Arrived  at 
the  place  of  execution,  she  knelt  in  prayer,  when  suddenly  a  beautiful  angel 
appeared  with  a  basket  containing  roses  and  apples.  These  she  bade  him 
take  to  Theophilus,  telling  him  that  she  had  sent  them,  and  she  would  await 
him  in  the  garden  from  whence  they  came.  Theophilus,  when  he  tasted  the 
fruit,  became  a  Christian,  and  like  Dorothea,  suffered  martyrdom. 


131.    LAND  SEER.  (after) 

PRIDE  AND  HUMILITY. 

In  a  shed  an  ass  and  her  colt  are  looking  with  respect  and  humility  upon  a 
conceited  turkey,  which  with  outspread  tail,  stalks  along  full  of  pompous 
pride. 


132.    SEYDEL,  ED.  Dresden. 

SAXON  TAVERN. 

In  front  of  an  ancient  thatch-roofed  inn,  a  group  of  men  are  seated  under 
a  tree  playing  cards.  A  woman  with  two  children— the  hostess  probably,  as 
she  is  filling  some  glasses  with  foaming  beer  from  a  brown  jug— sits  to  the 
right.  To  the  left,  an  old  grandame  watches  the  cradle  of  a  sleeping  infant, 
and  two  men  standing  by  the  door  are  engaged  in  animated  conversation. 


133.   SEYDEL,  ED.  Dresden. 

QUIETING  THE  BABY. 

In  spite  of  the  old  man's  smiling  face,  as  he  draws  the  bow  across  the 
violin,  baby  kicks  and  screams  with  unabated  vigor,  and  we  cannot  blame 
the  poor  little  wretch,  but  hope,  on  the  contrary,  that  it  may  raise  its  voice 
to  the  highest  pitch.  Who  in  the  world  could  calmly  stand  being  nearly 
smothered  by  a  "plumeau"  (vile  thing )  close  beside  a  red-hot  stove,  with 
the  steam  of  a  kettle  puffing  in  one's  face?  Fortunately  relief  is  near  at 
hand,  for  see,  mother  comes  through  the  door  with  baby's  dinner,  and  in  a 
moment  more  the  iiproar  will  subside. 


134.    LINDENSCHMID  T,  WILHELM.  Munich. 

ANDREA  PROLES  TEACHING  YOUNG  LUTHER. 

Young  Martin  Luther,  the  miner's  son,  who  a  few  years  later  wrought  such 
great  things  in  the  Reformation,  is  receiving  some  of  his  early  instruction 
in  the  apartment  of  Andrea  Proles. 


CROCKER  ART  GALLERY.  35 


135.    MULLER,  MORITZ.  Munich. 

TYROLEAN  COUNTRY  HOUSE. 

It  is  evening  in  a  Tyrolean  country  house,  and  the  firelight  which  gives 
the  sole  illumination,  casts  its  gleam  upon  the  figures  around.  Two  women 
in  the  Tyrolese  costume,  one  holding  an  infant  in  her  arms,  an  old  man  and 
a  boy,  and  to  the  left  another  female  figure.  The  upper  portion  of  the  apart- 
ment lies  in  shadow. 


136.    PESNE,  ANTOINE      (after ) 

GIRL  WITH  PIGEONS. 

A  rustic  beauty  in  a  straw  hat,  and  a  dress  which  exposes  her  neck  and 
arms,  has  before  her  a  basket  of  pigeons,  and  holds  two  of  them  in  her  hands. 

Antoine  Pesne  was  born  at  Paris  about  1683,  and  died  in  Berlin  in  1757.  He 
painted  history  and  portraits,  and  was  appointed  chief  painter  to  Frederic 
the  Great. 


137.   BOCCALINO,  ANTONIO. .  Italian. 

ARCHITECTURAL  RUINS  IN  ROME. 


138.   BOCCALINO,  ANTONIO,  Italian. 

ARCHITECTURAL  RUINS  IN  ROME. 


139.    RAPHAEL,  SANZIO.  (after) 

LA  PERLE. 

The  original  Holy  Family,  known  by  the  name  of  "  The  Pearl,"  is  in  the 
Gallery  at  Madrid.  The  infant  Christ  sits  on  the  Madonna's  knee,  resting 
one  foot  on  a  cradle.  In  the  foreground,  John  brings  fruits  in  his  panther's 
skin.  Mary's  left  arm  is  round  St.  Elizabeth,  who  seems  to  participate  in 
the  mother's  joy;  and  in  the  background,  St.  Joseph  is  seen,  busy  at  his 
trade.  ' 

Philip  IV.  of  Spain,  who  had  purchased  the  picture  from  the  Gallery  of 
Charles  I.,  is  said  to  have  exclaimed,  on  seeing  it:  "This  is  my  Pearl!" 
hence  its  name. 


140.    MUNSCH,  J.  Munich. 

WEDDING  PROCESSION  IN  BAVARIAN  TYROL. 

The  bride  is  a  pretty,  modest  looking  lass,  and  the  bridegroom  a  fine, 
handsome  fellow.  Both  look  exceedingly  well  in  their  wedding  garments. 
Munsch's  picture  is  both  interesting  and  characteristic. 


36 


CATALOGUE 


141   MARTINELLI.  (after) 

THE  TEMPTATION. 

Martinelli  was  a  Florentine,  who  flourished  ahout  the  middle  of  the 
seventeenth  century. 


142.   MIREVELDT,  MICHAEL  JANSEN. 

Dutch  School. 

PORTRAIT. 

Half  length  portrait  of  a  Dutch  lady  of  rank.  She  is  dressed  in  "black,  and 
wears  a  lace  cap  and  ruff,  and  a  jeweled  stomacher. 

This  artist  and  distinguished  portrait  painter  was  born  at  Delft,  in  1568, 
and  died  in  the  same  place  in  1641. 


143.  UNKNOWN. 

THE  MILKMAID. 


144.    SIEBOLD,  C. 

PORTRAIT. 

Head  of  a  man  rather  past  middle  age. 


145.   AMERIGHI,  MICHEL  ANGELO.  (after) 

THE  FALSE  PLAYERS. 

The  picture  before  us  is  sufficiently  clear.  The  youth  who  is  so  intent 
upon  his  cards,  that  he  is  utterly  unconscious  of  the  looks  of  intelligence 
passing  between  the  two  men,  will  soon  see  his  last  gold  coin  disappear. 
Should  he  suddenly  turn  and  discover  by  what  means  he  has  been  robbed, 
it  is  not  difficult  to  forsee  the  result.  Swords  will  be  drawn  by  these  fiery 
sons  of  Italy,  and  bloodshed  will  be  the  result  of  this  game  at  cards. 

Michel  Angelo  Amerighi,  surnamed  Caravaggio,  was  born  at  Milan,  in  1569, 
and  died  in  1609*  He  has  made  himself  famous  for  the  impressive  truth  of 
his  productions,  and  his  pictures  may,  to  a  certain  extent,  be  regarded  as 
typical  of  his  life,  portraying,  as  they  do,  more  especially  the  passionate  and 
gloomy  emotions  of  the  human  heart. 


146.    BRAMER,  LEONARD.  Dutch  School 

CROWNING  OF  CHRIST. 

"And  they  stripped  Him,  and  put  on  Him  a  scarlet  robe.  And  when  they 
had  plaited  a  crown  of  thorns  they  put  it  upon  His  head,  and  they  bowed 


CROCKER  ART  GALLERY. 


37 


the  knee  before  Hiin  and  mocked  Him,  saying :  'Hail,  King  of  the  Jews ! '  "— 
Matthew  XXVII,  28,  29. 

Bramer's  style  resembles  that  of  Rembrandt.  He  was  born  at  Delft,  in 
1596 ;  the  year  of  his  death  is  unknown. 


147.    VIGNALI,  JACOPO.  Florentine  School. 

Name  Unknown. 

Represents  a  youthful  martyr,  in  rich  attire,  her  hands  bound  with  cords. 
She  is  gazing  upwards,  over  her  shoulder,  at  an  angel  who  brings  her  flowers. 
The  picture  may  be  intended  for  St.  Dorothea. 

Vignali  was  born  at  Florence,  in  1592.  Although  a  disciple  of  Matteo  Ros- 
setti,  his  style  bears  more  resemblance  to  that  of  Guercino.  Among  the 
many  scholars  who  do  honor  to  the  teaching  of  Jacopo  Vignali,  the  name  of 
Carlo  Dolce  stands  pre-eminent.   He  died  in  1664. 


148.    HEIMERDINGER,  FREDERICK.  Hamburg. 

THE  HUNTER'S  CABIN. 

Interior  of  a  hunter's  cottage.  A  little  child  seated  upon  a  step,  is  holding 
a  hare  by  the  ears,  while  endeavoring  to  share  her  bread  with  the  dead 
animal.  The  mother  who  is  in  the  background  engaged  in  washing,  is  a 
quiet  spectator  of  the  little  scene,  The  picture  is  excellent,  the  game,  vege- 
tables, and  other  objects  of  still  life,  being  admirably  painted. 


149.   EVERSON,  A.  The  Hague. 

VIEW  TAKEN  IN  UTRECHT. 

A  street  scene  in  the  quaint  old  city. 


150.    ZIMMERMANN,  REINHARD  SEBASTIAN. 

Munich. 

THE  FISHERMAN'S  RETURN. 

Cottage  interior.  The  fisherman  has  just  returned  home,  and  is  met  on 
the  stairs  by  the  grandmother,  who  holds  out  "baby"  for  a-  kiss.  An  older 
child,  and  the  fisherman's  handsome  wife  who  sits  winding  yarn,  look  on 
approvingly.  Zimmermann's  works  are  distinguished  for  "energy  of  style, 
beauty  of  form  and  dramatic  force  in  the  composition." 


151.   KEITH,  WILLIAM.  San  Franeiseo. 

MOUNT  BAKER,  PUGET  SOUND,  OREGON. 


38  CATALOGUE 


152.   BREUGHEL,  PETER,  The  Elder. 

Dutch  School. 

THE  BLIND  HURDY  GURDY  PLAYER. 

Peter,  or  as  lie  was  frequently  called,  Peasant  Breughel,  was  born  near 
Breda  about  1510,  and  died  at  Antwerp  in  1569.  He  chose  the  various  forms 
of  peasant  life  as  the  chief  subjects  of  his  art. 


•  153.   BREKELENCAMP,  QUERINUS. 

Dutch  School. 

THE  MUSICIANS. 

This  artist  lived  about  1650.  Although  a  scholar  of  Gerard  Douw,  he  did 
not  follow  his  master's  style,  but  formed  one  of  his  own  which  partook  of 
the  manner  of  both  Rembrandt  and  Douw.  His  pictures  represent  usually 
interiors  of  Dutch  cottages  with  figures. 


154.   BEERSTRATEN,  T.  VAN.         Dutch  School. 

WINTER  LANDSCAPE  IN  HOLLAND. 


155.   FOUSSIN,  NICHOLAS.  French  School. 

LANDSCAPE  NEAR  ROME. 

Poussin,  a  leading  master  of  the  French  School  of  Art,  is  celebrated  for  his 
landscapes  with  scriptural  and  classical  figures.  He  was  born  at  Andely,  in 
Normandy,  in  1594,  and  died  at  Home  in  1665,  at  the  advanced  age  of  seventy- 
one. 


156.   DE  BRUYN,  THEODORE.       French  School. 

LANDSCAPE  WITH  CATTLE. 

A  small  landscape.  Some  cattle  and  sheep  in  a  meadow,  and  a  woman 
resting  under  the  shadow  of  a  tx-ee. 

Theodore  de  Bruyn,  a  native  of  France  or  Switzerland,  flourished  in  the 
middle  of  the  18th  century.  He  is  noted  as  a  painter  of  landscape  and  cattle, 
and  also  imitated  bas  reliefs  very  successfully.  An  example  of  his  skill  in 
the  latter  department,  may  be  seen  in  the  chapel  of  Greenwich  Hospital. 


157.   JARDIN,  KAREL  DU.  Dutch  School. 

CAVALIER  IN  CELLAR. 

This  delightful  artist  was  born  at  Amsterdam  in  1640.  After  leaving  the 
studio  of  Nicholas  Berghem,  whose  ablest  pupil  he  was  most  unquestionably, 


CROCKER  ART  GALLERY.  39 


he  proceeded  to  Rome  to  perfect  himself  there,  by  further  study  of  the  great 
masters.  He  soon  rose  to  distinction,  his  pictures  being  more  highly 
esteemed  in  the  "ancient  city"  than  those  of  any  of  his  countrymen.  He 
died  in  Venice  in  the  year  1678. 


158.   ANDREA  DEL  SARTO.       Florentine  School 

MADONNA  AND  CHILD. 

Half  length  figure  of  the  Madonna.  Her  head  is  slightly  inclined  to  the 
left,  as  she  gazes  upon  her  new  born  son.  St.  Joseph's  head  appears  over 
her  shoulder,  contemplating  mother  and  child,  and  on  the  left  of  the  picture, 
two  cherubs  look  upon  the  Savior  of  the  world. 

Andrea  Vannuchi,  surnamed  del  Sarto,  was  born  at  Florence,  in  1488,  and 
died  of  the  plague  in  1530. 


159.    UNKNOWN.  Dutch  School. 

Portrait  of  a  middle-aged  man,  with  small  pointed  beard  and  mustachios. 


160.   ADAM,  BENNO.*  Munich. 

HORSES  IN  PASTURE. 

Adam's  horses  exhibit  an  accurate  knowledge  of  anatomy,  and  a  most 
spirited  execution.   The  little  picture  is  a  gem. 


161.    VAN  DER  VENNE,  A.  Munich. 

THE  GYPSY  HALT. 

It  is  nearly  dinner  time :  a  party  of  gypsies  is  halting  on  the  bank  of  a 
winding  stream,  and  the  shaggy  horses  have  been  unharnessed,  and  are 
allowed  to  graze  while  preparations  are  made  for  the  noonday  meal.  In  the 
foreground,  a  gypsy  woman  in  quaint  attire,  smoking  a  clay  pipe,  is  engaged 
in  peeling  potatoes.  Various  utensils,  vegetables  and  watermelons,  lie  on  the 
ground,  and  a  naked  child  is  eagerly  watching  the  preparations  for  dinner. 
On  the  grassy  bank,  before  the  woman,  sits  a  swarthy  barefoot  man,  in 
tattered  clothing,  lazily  enjoying  his  smoke.  Behind  this  group,  the  musi- 
cian of  the  party  is  practising  on  his  violin ;  and  to  the  right,  an  exceedingly 
dilapidated  looking  female  is  washing  some  clothing,  and  two  naked  urchins 
are  playing  in  the  wagon. 


162.   BUSH,  N.  San  Francisco. 

SCENE  IN  NICARAGUA. 


40 


CATALOGUE 


163.  UNKNOWN. 

GARABALDI  ON  CAPRERA  ISLAND. 

164.  MUHLIG,  MENO.  Dresden. 

FEEDING  CHICKENS. 

165.  CIGNANI.  (after) 

VICTORY  OVER  SENSUALITY. 

The  scene  from  the  life  of  Joseph,  which  is  here  represented,  is  too  well 
known  to  all  readers  of  the  Scriptures,  to  need  either  comment  or  explana- 
tion. The  original  picture,  by  the  master  hand  of  Carlo  Cignani  (1628—1719), 
adorns  the  walls  of  the  Dresden  Gallery. 

166.  BERGHEM,  NICHOLAS.  Dutch  School 

LANDSCAPE  WITH  ANIMALS. 

A  hilly  landscape,  with  a  windmill  on  the  elevation  to  the  right.  In  the 
foreground,  some  cattle  are  standing  in  a  stream. 

Nicholas  Klaas  Berghem,  "one  of  the  most  original  and  charming  of  Dutch 
landscape  painters,"  was  horn  at  Harlem,  in  1624,  and  died  in  1683. 

167.  POTTER,  PAUL.  Dutch  School 

LANDSCAPE  WITH  ANIMALS. 

1625—1654. 

168.  VAN  DE  VELDE,  WILLIAM.    Dutch  School 

MARINE. 

Painted  with  the  exquisite  finish  of  this  inimitable  marine  painter,  of 
whom  Lord  Orford  says:  "The  palm  is  not  less  disputed  with  Kafiaelle  for 
history  than  with  Van  de  Velde  for  sea  pieces." 

He  was  born  at  Amsterdam,  in  1633,  and  died  in  1707. 

169.  GIORDANO,  LUCA.  Neapolitan  School 

APPOLLO  AND  THE  MUSES. 

To  the  greatest  among  modern  artists,  belongs  Spagnaletto's  pupil,  the 
rapid  painter  Luca  Giordano,  surnamed  Fa  Presto.  He  was  born  at  Naples, 
in  J632,  and  died  at  the  same  place  in  1705. 


CROCKER  ART  GALLERY. 


41 


170.   DROOCH  SLOOT,  J.  C.  Dutch  School. 

HOLLAND  HARVEST  FEAST. 


171.    VAN  DYCK,  SIR  A.  (after) 

DANAE. 

Everyone  knows  the  fable  of  Danae,  the  beautiful  daughter  of  King 
Acrisius  of  Argos,  who  was  confined  in  a  brazen  tower  by  her  father,  to 
avoid  the  fulfillment  of  an  oracle  which  had  predicted  that  a  child  of  hers 
would  destroy  him.  Jupiter,  charmed  with  the  beauty  of  the  fair  captive, 
enters  her  prison  in  the  form  of  a  shower  of  gold,  and  becomes  the  father  of 
Perseus. 


172.   RIB  ERA,  JOSE.  Spanish  School 

MAGDALENA. 

A  nude  figure  of  the  Magdalen;  her  eyes  are  cast  upward,  in  her  right 
hand  she  holds  a  flower,  and  in  her  left  an  hour  glass.  A  skull  rests  on  a 
table  by  her  side. 

Josef  Ribera,  called  II  Spagnaletto,  was  born  at  Xativa  in  1589.  In  due 
time  he  became  a  pupil  of  Caravaggio,  whose  powerful  and  effective  style 
possessed  a  particular  attraction  for  Ribera.  "  His  genius  led  him  to  paint 
gloomy  and  austere  subjects,  which  were  peculiarly  acceptable  to  the 
Neapolitans  and  Spaniards,  such  as  hermits  and  saints  emaciated  by  absti- 
nence and  severity."  Ribera  died  at  Naples  in  1656. 


173.   SCHALKEN,  GODFREY.  Dutch  School 

WOMAN  AT  THE  FIREPLACE. 

In  a  dark  room,  an  old  woman  is  warming  her  hands  at  an  open  fire. 

Godfrey  Schalken  was  born  at  Dort  in  1643.  He  studied  first  under  Hoog- 
straten,  afterwards  with  Gerard  Douw,  and  acquired  a  wide-spread  reputa- 
tion for  his  pictures  of  domestic  scenes,  represented  principally  by  candle 
light.  He  painted  principally  night  pieces,  whose  chief  merit  consists  "in 
the  neatness  of  his  finishing,  and  his  perfect  intelligence  of  the  chiar-oscuro, 
as  it  relates  to  objects  under  the  influence  of  a  fixed  and  local  light.  His 
touch  is  sweet  and  mellow,  and  his  coloring  warm  and  gilded."  He  died 
at  the  Hague  in  1706. 


174:   CARRACCI,  LUD0VIC0.      Bolognese  School 

CHRIST  AND  THE  SAMARITAN  WOMAN. 

Represents  the  well  known  scene  at  Jacob's  Well.   Luke  IV,  v.  6-26. 

A  scholar  of  Fontana  and  Tintoretto,  Ludovico  Carracci  became  the 
founder  of  the  most  important  of  the  Eclectic  Schools  at  Bologna.  His  style 
has  been  considered  by  several  of  the  best  judges  of  the  art,  as  that  which 
approaches  nearest  perfection.  He  was  born  at  Bologna  in  1555,  and  died  in 
1619. 


42  CATALOGUE 


175.    CRANACK,  LUCAS.      (School  of) 

THE  CRUCIFIXION. 

A  small  picture  of  Christ  upon  the  Cross;  his  mother  and  St.  John  standing 
on  either  side.  Painted  in  the  stiff  and  formal  style  which  prevailed  at  that 
time. 


176.   SEYDEL,  ED.  Dresden. 

SPINNING  WHEEL  AND  SEWING  MACHINE. 

A  modest  interior.  An  aged  dame  sits  at  the  spinning  wheel  in  front  of  a 
large  stove,  hut  her  busy  hands  are  for  a  moment  idly  clasped,  as  she  contem- 
plates with  wonder  the  new-fangled  mystery,  called  a  sewing  machine,  for 
which  her  granddaughter  is  preparing  work. 


177.   DIETHE,  A. 

ROMAN  GIRL. 

,  Under  the  shadow  of  an  orange  tree,  her  right  arm  resting  upon  the  pitcher 
which  stands  on  the  vine-covered  stone  well,  is  a  Roman  girl  in  the  pictur- 
esque costume  of  her  country.  She  seems  wrapt  in  thought,  and  there  is  a 
"  far  off  "  expression  in  her  soft  dark  eyes. 


178.    NAUMANN,  P.  Munich. 

THE  POLITICIANS. 

Interior  of  a  carpenter's  shop.  Tools  hang  on  the  wall,' and  a  merry  trio  of 
rabbits  are  disporting  among  the  shavings  which  cover  the  floor.  The 
carpenter  has  forsaken  his  plane,  and  is  forgetting  even  to  light  the  cher- 
ished pipe,  in  the  intense  open-mouthed  eagerness  with  which  he  is  listening 
to  a  spectacled  individual,  who,  with  the  newspaper  in  his  left,  and  his 
right  hand  raised,  in  order  to  give  more  emphasis  to  his  words,  stands 
outside  the  open  vine-wreathed  casement,  announcing  the  last  startling 
rumor  about  matters  political. 


179.    TINTORETTO,  IL.  Venitian  School. 

VENITIAN  SENATOR. 

Giacomo  Robusti,  born  at  Venice,  in  1512,  received  from  his  father's  occu- 
pation of  dyer,  the  nickname  of  II  Tintoretto,  by  which  he  is  best  known. 
A  contemporary  of  Paolo  Veronese,  he  became  for  a  short  time  the  pupil  of 
Tiziano,  whose  follower  he  always  remained. 

No  artist  displays  in  his  paintings  such  different  degrees  of  merit  as 
Tintoretto.  It  was  said  of  him  in  Venice  that  he  had  three  brushes,  a 
golden,  a  silver,  and  an  iron  one,  which  he  used  at  his  pleasure.  Annibale 


CROCKER  ART  GALLERY.  43 


Carracci,  on  one  occasion  remarked  that  II  Tintoretto  was  sometimes  equal 
to  Tiziano,  and  often  inferior  to  himself.  A  just  appreciation  of  his  genius 
is,  however,  only  to  be  found  at  Venice,  his  acknowledged  master-piece,  the 
Miracle  of  St.  Mark,  being  in  tbe  Academy  of  that  city. 

Tintoretto  excelled  both  in  landscape  and  portrait  painting.  His  speci- 
mens of  the  latter  are,  generally  speaking,  magnificent,  and  possess,  as  in 
the  Venitian  Senator  before  us,  a  wonderful  degree  of  individuality. 

Tintoretto  died  at  Venice,  in  1594. 


180.   RUBENS.      (School  of) 

ALLEGORY. 


181   McKEE,  MISS  MARY.         Sacramento,  Cal. 

LANDSCAPE. 


182.    UNKNOWN.  Flemish  School. 

BEER  HOUSE  SCENE. 


183.    ROSA,  SALVATOR.  Neapolitan  School 

LANDSCAPE  WITH  WATERFALL. 

A  gloomy,  rocky  landscape ;  to  the  left,  a  waterfall. 

In  their  landscapes,  Gaspar  Poussin  and  Salvator  Rosa  both  convey 
strongly  the  impression  of  solitude;  but  the  solitudes  of  Gaspar  are  the 
haunt  of  the  lover,  and  those  of  Salvator,  the  refuge,  of  the  penitent  and  the 
bandit. 

The  ditference  between  three  equally  famous  artists  is  admirably  illus- 
lustrated  in  the  following  lines  by  Thompson: 

"  Whate'er  Lorraine  light  touched  with  softening  hue, 
Or  savage  Rosa  dashed  or  learned  Poussin  drew.". 

Salvator  Rosa  was  born  at  Naples,  in  1615.  He  was  a  pupil  and  follower  of 
Spagnaletto,  and  died  at  Rome,  in  1673. 


184.    DIETRICH,  C.  W.  F.  German  School. 

PORTRAIT. 

Head  of  a  young  man  in  a  turban,  painted  after  the  manner  of  Rembrandt. 
Christian  William  Ernst  Dietrich  was  born  at  Weimar,  in  1712,  and  died  at 
Dresden,  in  1774. 


44  CATALOGUE 


185.  UNKNOWN. 

THE  FIRST  DRINK  OF  BEER. 

An  old  peasant  is  holding  his  grandson  on  his  knee,  and  watches  the  little 
urchin  with  delight,  as  he  drains  the  contents  of  the  mug. 

186.  ZIMMERMANN,  JULIUS. 

THE  TOURISTS. 

A  wooded  glen.  In  the  foreground  is  a  brook.  To  the  right,  two  young 
ladies  are  beside  a  stile,  which  one  of  them  has  succeeded  in  crossing,  sadly 
to  the  detriment  of  her  draperies,  the  latter  being  somewhat  gossamer,  are 
decidedly  ill  adapted  to  woodland  rambles.  To  the  left,  a  peasant  lad  is 
peeping  from  behind  the  trunk  of  a  gnarled  moss-grown  tree,  to  see  how  her 
companion  will  acquit  herself.  A  party  of  ladies  and  gentlemen  are  at  a 
little  distance. 


187.   KNAUS,  L.  (after) 

THE  FALSE  GAMBLERS. 


188.   SNYDERS,  FRANCIS.  Flemish  School. 

STILL  LIFE. 

This  distinguished  artist,  who  was  born  at  Antwerp  in  1579,  confined  him- 
self for  some  time  entirely  to  painting  fruit  and  objects  of  still  life,  in  which 
he  excelled;  but  later  he  devoted  himself  to  animals  and  hunting  scenes, 
which  he  painted  with  a  fire  and  spirit  unequalled  by  any  master  who  has 
succeeded  him.   Snyders  died  at  Antwerp  in  1657. 


189.  TITIAN,  VECELLI.  (after) 

FLORA. 

To  the  most  remarkable  of  Titian's  works  belong  a  series  of  portraits, 
generally  known  as  "Titian's  Beauties."  One  of  these,  the  most  beautiful, 
is  the  "Flora"  in  the  Florence  Gallery,  of  which  this  picture  is  a  copy.  It 
represents  a  woman  of  majestic  beauty,  with  naked  bosom  and  flowing 
golden  hair,  holding  a  bunch  of  flowers  in  her  right  hand,  and  in  her  left, 
part  of  her  violet  colored  robe, 

/ 

190.  UNKNOWN.  Butch  School. 

CAVALRY  FIGHT. 


CROCKER  ART  GALLERY.  45 


191.    OSTADE,  ISAAC  VAN.  Duteh  School. 

TAVERN  SCENE. 

Isaac  Van  Ostade,  born  at  Harlaem  in  1612,  was  the  younger  brother  of  the 
more  famous  Adrian,  from  whom  he  received  his  artistic  education.  His 
works  consist  of  landscapes  with  figures  and  cattle,  as  well  as  interiors  of 
peasant  life,  country  festivities  and  similar  subjects  in  the  style  of  his 
brother.  He  died  about  the  year  1654. 


192.   NAHL,  CHAS.  C.  San  Francisco. 

EVENING  ON  THE  SACRAMENTO  RIVER. 


193.    BAROCCIO,  FEDERIGO.         Roman  School. 

STUDY. 

A  head  in  profile. 

Baroccio  was  born  at  Urbino  in  1528.  He  seems  to  have  adopted  the  man- 
ner of  Coreggio,  but  his  style  can  never  be  compared  to  that  of  his  inimitable 
model.  Baroccio's  works  nevertheless  may  be  admired  for  elegant  taste 
and  barmony  of  coloring.   He  died  in  1612. 


194.   BEMMEL,  WM.  VAN.  Dutch  School. 

DIANA  AND  MARS. 

Bemmel  was  born  at  Utrecht  in  1630.  He  spent  many  yeai'S  in  Italy  and 
Germany,  and  finally  settled  in  Nuremberg.  He  excelled  in  landscape 
painting,  and  died  in  1703  at  the  age  of  73. 


195.   KELS,  F.  Dusseldorf. 

THE  WHISPERED  SECRET. 

A  jolly,  good-natured  peasant  woman,  "fat  and  forty,"  if  she  be  not  fair, 
listens  with  a  most  satisfied  smile  to  the  whispered  confidence  of  an  equally 
jovial  looking  peasant,  whose  left  arm  is  round  her  waist.  Wine  glasses 
and  a  bottle  are  on  a  table  by  their  side. 


196,   MUNSCH,J.  Munich. 

SOLDIER  AND  PEASANT  BOY. 

A  young  cavalry  soldier  is  riding  on  his  knee  a  delighted  little  peasant 
lad,  who  with  martial  head  gear  and  wooden  sword,  feels  for  the  moment  as 
if  he  had  indeed  attained  his  highest  ambition,  of  being  a  soldier. 


46  CATALOGUE 


197.    VENIUS,  OTTO.  Dutch  School 

CHRIST  AND  MARTHA. 

"  But  Martha  was  cumbered  about  much  serving,  and  came  and  said,  Lord, 
dost  Thou  not  care  that  my  sister  hath  left  me  to  serve  alone?  Bid  her 
therefore  that  she  help  me.  And  Jesus  answered  and  said  unto  her :  Martha, 
Martha,  thou  art  careful  and  troubled  aboxit  many  things.  But  one  thing 
is  needful,  and  Mary  hath  chosen  that  good  part  which  shall  not  be  taken 
away  from  her." — Luke  X,  40,  41,  42. 

Otto  Venius  was  born  at  Ley  den,  in  1556,  and  spent  many  years  in  Italy, 
where  he  was  the  pupil  of  Zuccaro.  On  his  return,  he  passed  some  time  in 
Germany,  in  the  service  of  the  Emperor,  and  finally  established  himself  in 
Antwerp,  where  he  became  the  instructor  of  Rubens.  Venius  was  appointed 
principal  painter  to  Archduke  Albert,  which  position  he  retained  until  his 
death,  in  1634. 


198.   DENNY,  G.  J.  San  Francisco. 

TOWING  THE  OLD  "VETERAN"  INTO  SAN  FRANCISCO 
HARBOR. 


199.   BREUGHEL,  JOHN  Flemish  School. 

LANDSCAPE. 

In  the  foreground,  horses,  sheep  and  cattle,  and  several  figures  of  men  and 
boys.  To  the  right,  a  farm  house,  shaded  by  trees,  passing  in  front  of  which 
is  a  woman,  carrying  a  load  on  her  head,  and  holding  a  child  by  the  hand. 
In  the  middle  distance,  two  horsemen ;  to  the  left,  a  horseman  and  a  pedes- 
trian, side  by  side.  Mountain  scenery  in  the  distance. 

John  Breughel  was  born  at  Brussels,  in  1589,  and  died  at  Antwerp,  in  1642. 
There  were  four  painters  of  this  name  living  about  the  same  time.  John 
Breughel  was  distinguished  as  the  "Velvet  Breughel,"  because  he  was  gen- 
erally dressed  in  velvet,  an  expensive  habit,  and  one  unusual  for  painters 
in  those  days. 


200.    UNKNOWN.  Dutch  School. 

LANDSCAPE. 


201.    R00S,  H.  Dutch  Sehool. 

ANIMALS. 

This  eminent  painter  of  landscapes  and  animals  was  born  at  Otterburg,  in 
1631.  His  death  occurred  in  a  particularly  lamentable  manner.  In  1685  a 
terrible  fire  broke  out  in  Frankfort,  and  raged  most  fiercely  in  the  quarter 


CROCKER  ART  GALLERY.  47 


of  the  town  in  which  Roos'  house  was  situated.  In  the  hope  of  rescuing 
some  valuable  objects  from  the  flames,  he  entered  the  house,  and  fell  a 
victim  to  the  devom-ing  element,  in  the  fifty-fourth  year  of  his  age. 


202.    CANTON,  S. 

WATERING  CATTLE. 

In  a  large  barnyard,  where  some  women  are  busily  engaged  in  washing 
clothes,  under  the  shadow  of  a  wide-spreading  tree,  the  cowherds  are 
driving  up  their  cattle  to  water  at  the  trough. 


203.   NEUSTATTER,  L. 

CHILDREN  FRIGHTENED  BY  A  CHIMNEY  SWEEP. 


204.  MILLER,  JOSEPH. 

THE  FIRST  SMOKE. 

205.  FISCHER,  AUGUST. 

SOLDIER  OF  THE  THIRTY  YEARS'  WAR. 

In  the  foreground,  by  a  piece  of  clear  water,  a  soldier  is  sharpening  his 
weapons  on  a  grindstone,  which  is  being  eagerly  turned  for  him  by  an 
admiring  boy.  A  fair  haired,  blue  eyed  daughter  of  Germany  is  seated  on 
the  grass  in  a  pensive  attitude,  and  a  younger  child,  standing  by  her  side, 
completes  the  group.  To  the  right,  under  the  shadow  of  a  tree,  not  far  from 
an  old  fashioned  well,  with  bucket  and  chain,  a  soldier  is  seated,  plucking  a 
goose.   On  the  hill  in  the  distance,  a  figure  of  a  man  is  visible. 


206.  TITIAN,  VECELLI.  (after) 

LAVINIA,  TITIAN'S  DAUGHTER. 

Everyone  is  familiar  with  the  face  of  Titian's  daughter,  and  certainly  her 
portraits  are  most  numerous.  The  most  famous,  of  which  this  is  a  copy,  is 
in  the  Museum  at  Berlin.  She  is  here  represented  lifting,  with  both  hands, 
a  dish  filled  with  fruit. 

207.  MULLER,  MORITZ.  Munich. 

ITALIAN  WEDDING  PARTY  AT  NIGHT. 

The  bride  is  saying  her  last  farewells,  for  the  boat  is  about  putting  off 
from  the  shore.  Some  of  the  faces  ai*e  illuminated  by  torch  light,  while  the 
remainder  of  the  party  are  in  shadow ;  and  on  the  placid  water  gleams  a 
silver  streak  of  moonlight.  * 


48 

CATALOGUE 

208. 

SCHONBERR,  C.  Dresden. 

LAZARUS  AND  THE  RICH  MAN. 

209. 

POST,  e.  a 

DUTCH  LUGGERS. 

210.    VAN  OER,  THEOBALD.  Dresden. 

PRESENTATION  OF  MERINO  SHEEP  TO  THE  ELECTOR 
OF  SAXONY  BY  THE  SPANISH  AMBASSADOR. 

211.   BREUGHEL,  JOHN.             Flemish  School. 

RIVER  SCENE  IN  HOLLAND. 

1589-1642. 

212. 

UNKNOWN. 

THE  CAPSIZED  SLEIGH. 

213. 

BUSH,  N.                         San  Francisco. 

CATSKILL  MOUNTAINS. 

214. 

KEITH,  WILLIAM.               San  Francisco. 

MOUNT  HOOD,  OREGON. 

215.    QUERFURTH,  AUGUSTUS.    German  School. 

TRAIN  OF  MERCHANTS  ATTACKED  BY  HIGHWAYMEN. 

1696— 1761. 

216. 

VOLTZ,  LUDWIG.  Munich. 

THE  FAITHFUL  WATCH. 

CROCKER  ART  GALLERY. 


49 


217.    VAN  OER,  THEOBALD.  Dresden. 

SCHILLER  AT  LOSCHWITZ. 

A  beautiful  and  expressive  picture  of  the  immortal  poet,  in  his  favorite 
retreat  near  Dresden.  He  is  probably  engaged  on  "  Don  Carlos,"  the  greater 
part  of  whieh  was  written  on  this  very  spot,  within  view  of  the  winding 
Elbe,  and  amidst  the  beautiful  scenery  which  surrounds  Loschwitz.  So 
deeply  engrossed  is  Schiller  with  his  work,  that  he  is  utterly  unconscious 
of  the  approach  of  his  friends. 


218.    VERONESE,  CARLETTO.      Venetian  School. 

CHRIST  AT  SIMON'S  TABLE. 

Although  decidedly  inferior  to  him,  Carletto,  the  eldest  son  of  Paolo  Vero- 
nese, belongs  to  the  most  successful  imitators  of  his  father's  style.  He  was 
born  at  Venice  in  1570,  and  died  in  1596  at  the  age  of  twenty-six. 


219.    MUHLIG,  MENO.  Dresden. 

ARMORER  AT  WORK,  AND  A  CAVALIER  ADMIRING  HIS 
DAUGHTER. 

Helmets,  coats  of  mail,  and  the  different  weapons  contained  in  the  interior 
before  us,  point  to  the  occupation  pursued  therein,  even  if  the  armorer  him- 
self were  not  at  present  busily  engaged  with  his  compasses.  Despite  his 
wrinkles  and  almost  snow  white  beard,  the  face  seen  in  profile  is  that  of  a 
handsome  man.  So  intent  is  he  upon  his  work,  that  he  is  calmly  unconscious 
of  the  admiring  glances  bestowed  by  the  prince  upon  the  beautiful  girl,  who 
with  downcast  eyes,  is  pursuing  her  household  avocations.  The  picture 
illustrates  a  scene  in  the  German  opera  of  "  Der  Waffenschmidt." 


220.    NAUMANN,  P.  Munich. 

THE  LETTER  CARRIER. 

That  worthy  functionary  has  just  entered  a  court-yard,  and  raising  a 
letter  high  in  his  right  hand,  has  caused  a  flutter  of  expectation  among 
three  rustic  beauties,  who  a  moment  ago,  were  busy  at  a  large  tub  of  clothes. 
A  pink  envelope !  It  can  contain  nothing  less  interesting  than  a  genuine 
love  letter ;  and  as  the  postman  gives  a  side  glance  at  the  pretty  girl  facing 
us,  we  feel  a  shrewd  suspicion  that  she  is  to  be  made  the  happy  recipient. 
The  elderly  woman  on  the  bench  to  the  right,  is  resting  her  mug  of  coltee  on 
her  lap,  and  appears  to  be  an  interested  spectator  of  the  scene. 


221.    ROBBE.  Brussels. 

CATTLE  PIECE. 

A  young  girl,  assisted  by  a  dog,  is  driving  some  cattle  and  sheep  through 
4 


50 


CATALOGUE 


a  meadow  traversed  by  a  stream.  Some  have  already  crossed  to  the  oppo- 
site side, 

"  While  others  stand 
Half  in  the  flood,  and  often  bending  sip 
The  circling  surface." 

222.    MOLA,  PIETRO  FRANCISCO. 

Roman  School. 

ABRAHAM  OFFERING  ISAAC. 

This  artist  was  horn  in  the  vicinity  of  Como  in  the  year  1609,  and  died  at 
Rome  in  1665.  Price  says:  "There  is  hardly  any  painter  whose  pictures 
more  immediately  catch  the  eye  of  a  connoisseur,  than  those  of  Mola,  or 
that  less  attract  the  notice  of  a  person  unused  to  painting." 


223.    BROOKS,  S.  iff.  San  Francisco. 

STILL  LIFE. 


224.  BRET  SCHNEIDER,  EDWARD.  Altenburg. 

CORDELIA  AND  KING  LEAR  IN  PRISON. 

Bretschneider  has  chosen  for  .his  subject,  the  moment  when  the  murderer 
glides  forward  with  stealthy  steps.  The  old  king  clings  helplessly  to  his 
daughter,  and  Cordelia,  anguish  depicted  on  her  countenance,  bends  for- 
ward with  uplifted  hand,  as  if  to  stay  the  assassin. 


225.  VAN  DER  VENNE,  A.  Munich. 

THE  STARTLED  DONKEY. 

If  the  old  gentleman,  whose  donkey  has  been  so  terribly  alarmed  by  the 
scarecrow,  was  ever  desirous  of  making  a  favorable  impression  upon  his  fair 
companion,  he  is  certainly  an  object  of  pity;  for,  as  he  clutches  the  animal's 
neck  in  anything  but  a  dignified  attitude,  he  presents  a  most  ludicrous 
appearance,  quite  incompatible  with  the  character  of  a  "preux  chevalier." 

226.  CANTON,  S. 

A  SHIPWRECK. 


227.   KEITH,  WILLIAM.  San  Francisco. 

MOUNT  SHASTA,  CALIFORNIA. 


CROCKER  ART  GALLERY.  51 


228.  WOUVERM ANN,  PHILIP.        Dutch  School 

CATTLE  MARKET. 

This  admired  painter  was  born  at  Harlem  in  1620,  and  died  at  the  same 
place  in  1668.  His  pictures  usually  represent  hawking  parties,  halts  of 
travellers,  encampments,  horse  fairs,  and  all  subjects  into  which  he  could 
introduce  horses,  which  he  treated  with  unequalled  spirit  and  correctness. 


229.   JAC0BI,E.  Berlin. 

READING  OF  THE  WILL. 

The  numerous  faces  in  this  admirable  picture  are  expressive  of  the  most 
varied  and  opposite  emotions.  Joy,  sorrow,  envy,  anger,  gratitude,  sympa- 
thy, disappointment,  everything  but  indifference.  The  picture  tells  its  own 
story  so  well,  that  explanation  would  be  superfluous. 


230.    GAREIS,  ANTON.  Prague. 

SHEPHERD'S  FESTIVAL. 

(  From  Shakspeare's  Winter  Tale.) 

A  composition  of  fourteen  figures.  The  grouping  is  excellent,  and  the 
picturesque  costumes  assist  in  making  up  an  exceedingly  pretty  and  effect- 
ive picture. 


231    ZIMMERMANN,  R.  S.  (after) 

THE  NEWS  READERS. 

The  old  gentleman,  who  is  reading  aloud  Avhat  appears  to  be  a  sort  of  Ger- 
man "Punch,"  has  an  attentive  and  highly  interested  audience,  even  the 
Hausfrau  having  dropped  her  eternal  knitting  to  lend  a  listening  ear. 


232.   LUINI,  BERNARDINO.        Milanese  School. 

MADONNA  AND  CHILD. 

The  Madonna  is  represented  seated,  her  right  arm  supporting  the  infant 
who  lies  upon  her  lap ;  her  left  hand  is  slightly  raised.  She  is  attired  in  a 
crimson  robe  and  dark  blue  drapery  which  is  drawn  over  her  head ;  her 
expression  is  exquisitely  pure,  calm  and  saintly.  The  face  of  the  child  is 
turned  towards  the  spectator ;  his  right  hand  grasps  the  virgin's  robe. 

Bernardino  Luini  was  born  at  Luino,  on  Lago  Maggiore,  about  the  year 
1480.  He  was  a  disciple  of  Leonardo  da  Vinci,  and  the  most  celebrated  imi- 
tator of  that  master's  style.  Some  uncertainty  exists  concerning  the  exact 
date  of  his  death,  but  it  was  subsequent  to  the  year  1530.  Professor  Ruskin 
said  of  Luini,  in  his  Oxford  Lecture  on  Sculpture,  that  "he  alone  of  mediae- 
val artists  could  combine  beauty  with  saintliness." 


52  CATALOGUE 


233.   MEISSNER,  ERNST.  Dresden. 

RETURNING  FROM  WORK.  1 

This  picture  gives  us  a  happy  glimpse  of  peasant  life.  A  goat,  with  her 
kids  gambolling  by  her  side,  opens  the  procession;  behind  follows  the 
peasant,  supporting  his  little  boy  on  the  horse's  back,  while  a  barefooted 
child,  carrying  a  younger  one,  walks  by  her  father's  side,  and  a  boy,  with  a 
kid  in  his  arms,  is  keeping  step  with  his  mother,  who,  carrying  a  huge 
bundle  on  her  head,  is  cheerfully  bringing  up  the  rear. 


234.    GROOT,  J.  BE.  Brussels. 

INTERIOR  OF  A  BELGIAN  COTTAGE. 

In  a  quaint-looking  interior,  to  the  right,  an  old  woman,  in  a  close  fitting 
white  cap,  blue  petticoat,  red  waist,  and  a  little  brown  shawl  crossed  over 
her  bosom,  sits  spinning  ;  opposite  her,  a  pretty  young  girl,  jn  brown  p'etti- 
coat  and  yellow  jacket,  scarlet  beads  round  her  neck  and  in  her  ears,  and 
wearing  also  a  close  cap  over  her  chestnut  tresses,  sits  on  a  low  stool, 
engaged  in  the  homely  occupation  of  peeling  potatoes.  A  handsome 
peasant  lad,  in  the  sabots  or  wooden  shoes  of  the  country,  leans  with  folded 
arms  on  the  back  of  the  old  woman's  chair,  smoking  a  pipe.  The  soup  in  a 
pot  suspended  from  an  iron  chain,  is  cooking  over  the  coals,  the  genial 
warmth  of  which  is  very  agreeable  to  pussy,  as  she  lies  upon  the  spotless 
tiled  floor. 


235.   BRUNNER,  HANS.  ■  Munich. 

HUNTING  SCENE. 

At  a  table  under  the  spreading  branches  of  a  fine,  old  tree,  a  number  of 
people  are  drinking  beer.  Two  of  the  party  are  sportsmen,  and  we  can  see 
at  a  glance,  gentlemen.  They  have  evidently  joined  in  the  mirth  of  the 
peasants,  who  far  from  suspecting  the  rank  of  their  companions,  are  quite 
unembarrassed,  until  most  inopportunely,  the  obsequious  footman  appears 
in  liveried  grandeur  to  announce  to  their  lordships,  that  "the  carriage  is 
waiting."  The  gentleman  to  the  left,  seems  anything  but  pleased  at  the 
interruption,  and  the  country  people  are  struck  dumb  with  surprise  and 
confusion. 


236.    VAN  OER,  THEOBALB.  Dresden. 

MINING  ALLEGORY. 

German  mining  district.  On  the  summit  of  the  fir-clad  eminence,  a  cot- 
tage, and  smelting  works,  from  which  a  thick  smoke  is  ascending.  On  the 
path  leading  to  the  buildings,  women,  children  and  youths  in  various  atti- 
tudes ;  also  an  old  man  playing  the  violin.  To  the  right,  two  miners  stand 
engaged  in  prayer,  at  the  entrance  to  a  shaft  which  a  third  is  just  seen 
descending.  Beneath,  an  accident  has  occurred— a  miner  lies  dead  upon 
the  ground,  and  his  wife  is  bending  over  him  with  an  expression  of  anguish, 


CROCKER  ART  GALLERY.  53 


while  a  father,  mother  and  child  who  have  just  entered  are  anxiously  watch- 
ing the  two  men  who  are  clearing  away  the  debris.  Above,  to  the  left,  a  man 
is  using  the  divining  rod,  while  three  others  kneel  in  front  of  him  upon  the 
ground.  Immediately  underneath,  we  can  see  miners  at  work;  they  have 
just  struck  a  rich  vein  of  ore.  Below,  in  the  centre  of  the  picture,  sits  with 
sinister  mien  the  sovereign  of  the  subterraneous  domains,  brooding  ven- 
geance upon  those  who  dare  to  invade  his  territories ;  he  is  surrounded  by 
gnomes  and  fire-spewing  dragons.  Windlasses,  buckets,  etc.,  are  on  either 
side  of  the  picture,  and  in  the  distance,  to  the  right,  a  river  winds  its  peace- 
ful course  through  the  green  landscape. 


237.   POUSSIN,  GASPAR  DUGHET.     (School  of) 

LANDSCAPE. 


238.   FRANCE,  AMBROSE.  Flemish  School. 

ST.  JOHN  PREACHING  IN  THE  WILDERNESS. 

The  precursor  of  Christ,  preaching  to  the  multitude  the  "baptism  of 
repentance  for  the  remission  of  sins." 

Ambrose  Franck  or  Francken,  born  at  Antwerp  about  the  year  1549, 
belonged  to  a  family  of  artists.  He  painted  principally  historical  subjects; 
his  death  occurred  in  1544. 


239.   BREUGHEL,  PETER,  The  Younger. 

Flemish  School. 

FEASTING  AND  DANCING  IN  HOLLAND. 

This  artist,  surnamed  "  Hell  "  Breughel  from  the  eccentric  and  frightful 
subjects  which  he  delighted  to  paint,  was  the  elder  brother  of  John  or 
"  Velvet "  Breughel.   He  was  born  about  1569,  and  died  in  1625. 


240.    CHINESE  PICTURE. 


241.    UNKNOWN,  (signed  W.  R.)  Flemish  Sehool. 

PIGEONS. 


242.    CHINESE  PICTURE. 


54  CATALOGUE 


243.    CORREGGIO,  ANTONIO  DA.  (after) 

THE  DOCTOR. 

Half  length  portrait  of  a  man,  seated.  He  wears  a  black  robe,  and  on  bis 
bead  a  sort  of  barretta.  In  his  right  hand  is  a  large'  volume,  in  his  left,  his 
gloves. 


244.    GRAF,  ANTHONY.  Swiss. 

PORTRAIT  OF  JOSEPH  BORUSLAWSKY. 

Joseph  Boruslawsky,  a  Polish  gentleman,  born  at  Kalusz,  in  the  Palatinate 
of  Russia,  and  baptized  on  the  24th  of  April,  1737,  was  a  dwarf  in  the  service 
of  the  Countess  HunsieZka.  This  life-size  portrait  was  painted  at  Munich, 
November  3d,  1759,  in  the  twenty-second  year  of  his  age. 

Anthony  Graf,  an  eminent  Swiss  portrait  painter,  was  born  at  Winterthur 
in  1736.  In  176(5  he  was  appointed  painter  to  the  Court  of  Saxony,  and  settled 
in  Dresden,  where  he  died  in  1813. 


245.  MUHR,  JULIUS.  Munich. 

THE  NUNS. 

An  out-door  scene.  Under  a  vine  covered  trellis,  supported  by  stone 
pillars,  two  nuns  are  seated  at  a  table.  The  older  one,  the  reverend  mother 
probably,  has  laid  down  the  vestment,  on  which  a  moment  since  her  busy 
fingers  were  at  work,  to  lend  a  more  attentive  ear  to  the  words  which  the 
sweet  voiced  sister  is  reading  from  the  devotional  volume  in  her  hand. 
Standing  between  two  pillars  and  leaning  with  folded  arms  over  the  reader's 
chair,  is  the  graceful  figure  of  another  youthful  nun.  A  vase  of  flowers  is 
upon  the  table,  and  a  fourth  sister,  carrying  a  basket  of  fruit,  is  just  coming 
to  join  the  interesting  group;  while  wound  affectionately  arm  in  arm,  two 
others  wander  through  the  convent  grounds.  There  is  something  wonder- 
fully soothing  in  the  quiet  beauty  and  delicate  feeling  which  pervade  this 
scene,  the  very  doves  seeming  to  feel  its  peaceful  influence.  Gazing  upon 
"The  Nuns,"  we  cannot  but  wonder  what  can  have  induced  them  to 
renounce  the  allurements  of  the  world,  for  the  retirement  and  isolation  of 
the  convent  walls.  Judging  from  their  calm  serenity  of  attitude  and  mien, 
their  hearts  are  full  of  pure  and  holy  thoughts,  and  they  ai*e  seeking,  by 
giving  up  the  vain  pleasures  of  the  world  and  by  a  solemn  consecration 
of  thought  to  religious  duties,  to  secure  the  reward  in  store  for  the  chaste 
brides  of  Heaven. 

246.  SOMER,  JAN  VAN.  Dutch  School 

PORTRAIT  OF  A  ROYAL  PRINCESS. 

1645—1716. 


CROCKER  ART  GALLERY. 


55 


247.    CARRACCI,  A.  Bolognese  School 

VENUS  AND  CUPID. 


248.   REMBRANDT  VAN  RHYN.  (after) 

OLD  WOMAN  WEIGHING  COIN. 


249.    VAN  DYCK,  SIR  A.  Flemish  School. 

NATIVITY. 

1599—1641. 


250.    ROSA,  SALVATORE.        Neapolitan  School 

WATERFALL. 

1615—1673. 


251   JANET,  FRANCOIS.  French  School 

HIGH  LIFE  IN  THE  SIXTEENTH  CENTURY. 

This  artist  flourished  at  Paris  in  1547. 


252.    UNKNOWN.  Flemish  School 

BACCHUS  AND  ARIADNE. 


253.   HOLZER,  JOHN  German  School 

VISION  OF  ST.  AUGUSTINE. 

The  legend  tells  us,  that  while  St.  Augustine  was  engaged  upon  his  "Dis- 
course on  the  Trinity,"  he  one  day  walked  on  the  seashore,  lost  in  meditation 
upon  the  great  theme  of  his  writing ;  when  he  suddenly  saw  a  little  child 
bringing  water  and  endeavoring  to  fill  a  hole,  which  he  had  dug  in  the  sand. 
After  curiously  watching  him  for  some  time,  Augustine  asked  the  motive  of 
his  labors.  "I  am  going  to  empty  all  the  water  of  the  sea  into  this  hole," 
answered  the  child.  "  Why  do  you  waste  time  in  trying  to  accomplish  the 
impossible?"  exclaimed  St.  Augustine.  "Not  more  impossible,"  sounded 
the  reply,  "than  for  thee  O  Augustine,  to  explain  that  which  it  has  pleased 
God  to  wrap  in  mystery."  After  this  strange  reply,  the  child  vanished, 
and  there  appeared  to  the  saint,  a  vision  of  the  Lord  Jesus  Christ,  surrounded 
by  innumerable  angels. 

John  Holzer,  a  German  historical  painter,  was  born  in  1708  in  the  Tyrol. 
The  date  of  his  death  is  unknown. 


56  •  CATALOGUE 


254.    MULLER,  M.  Munich. 

THE  GREEN  TREE. 

Scene  at  the  "  Green  Tree,"  a  noted  beer-house  in  Munich. 


255.  VAN  DYCK,  SIR  A.  Flemish  School. 

1599—1641. 

CHRIST  HEALING  THE  BLIND. 

Mark  VIII,  22-25. 

256.  CORREGGIO,  IL.  Lombardese  School. 

VENUS  AND  ADONIS. 

Venus  is  endeavoring  to  detain  Adonis  from  the  chase.  In  the  act  of 
rising,  her  drapery  has  fallen  from  the  upper  portion  of  her  figure,  down  to 
her  knees.  The  fair  hair  of  the  goddess,  part  of  which  is  braided  and  coiled 
at  the  back  of  her  head,  is  entwined  by  a  string  of  pearls.  She  throws  her 
arms  impassioned  round  her  lover,  who  with  an  expression  half  tender,  half 
impatient,  yet  remains  unmoved  by  her  solicitations,  and  pointing  to  his 
dogs,  seems  to  signify  his  haste  to  depart.  Cupid,  the  little  mischief  maker, 
stands  before  his  mother. 

Antonio  Allegri,  called  Corregio,  was  born  at  Corregio,  a  small  town  in 
Modena,  in  1494,  It  is  ascertained  that  this  great  genius,  and  "  model  of  all 
supernatural  grace,"  never  visited  Rome— never  even  saw  the  works  of 
other  great  masters,  except  Raphael's  "St.  Cecilia,"  when  it  was  brought  to 
Bologna.  After  long  gazing  upon  it  with  breathless  admiration,  he 
exclaimed:  "Anch  io  sono  pittore!"  (I  also  am  a  painter!)  Corregio's 
death  occurred  in  the  year  1534,  at  the  early  age  of  forty-one.  Like  Raphael, 
he  died  in  the  prime  of  life. 

257.  DIETRICH,  CHRISTIAN  W.  ERNEST. 

German  School. 

PORTRAIT. 

This  artist,  the  most  eminent  of  the  German  School  diiring  the  last  cen- 
tury, was  born  at  Weimar  in  1712,  and  died  at  Dresden  in  1774.  He  is  prob- 
ably better  known  by  his  fine  etchings  than  by  his  pictures. 


258.  UNKNOWN. 

THE  EXAMINATION. 


CROCKER  ART  GALLERY.  57 


259.   RUBENS,  PETER  PAUL.      Flemish  School 

PORTRAIT. 

Man  past  middle  age ;  the  face  seen  in  front ;  rather  long  dark  hair,  and  short 
pointed  heard  and  mustachios.  Peter  Paul  Rubens,  the  illustrious  head  of 
the  Flemish  School,  the  "consummate  painter,  enlightened  scholar,  skillful 
diplomatist  and  accomplished  man  of  the  world,"  was  horn  at  Cologne  in 
1577,  on  the  Feast  of  St.  Peter  and  St.  Paul,  from  which  circumstance  he 
received  his  name.  On  reaching  his  twenty-third  year,  he  went  by  advice 
of  his  friend  and  master,  Otto  Venius,  to  Italy,  where  he  spent  eight  years. 
On  his  return,  he  established  himself  at  Antwerp,  from  Avhere  he  went  at 
different  times  to  the  Courts  of  France  and  Spain.  Among  his  numerous 
magnificent  paintings,  the  one  by  which  he  is  most  extensively  known,  is 
probably  his  famous  "Descent  from  the  Cross,"  which  presents  the  highest 
excellence  attained  by  the  master  in  ecclesiastica  l  art.  Rubens  died  at  Ant- 
werp in  May,  1640. 


260.    UNKNOWN.       Italian  School,  16th  Century. 

THE  SERENADE. 


UNKNOWN.        Italian  School,  16th  Century. 

THE  MASQUERADE. 

PALAMEDES,  PAUL.  Dutch  School 

ABDUCTION  OF  PROSERPINE. 

The  artist  has  represented  the  moment  when  Pluto,  who  is  carrying  off 
Proserpine,  after  crossing  several  lakes,  at  last  arrives  at  that  of  Cyane. 
The  nymph,  after  whom  the  lake  is  named,  rises  from  its  waters,  and  tries 
in  vain  to  oppose  his  passage. 

Paul  Palamedes  Staevaerts,  or  Palamedes,  as  he  is  usually  called,  was  born 
in  London  in  1607,  but  returned  at  an  early  age  with  his  father  to  Holland. 
After  acquiring  an  elementary  knowledge  of  art,  he  improved  himself  by 
studying  the  works  of  Esaias  Vandervelde,  copying  with  great  success  that 
master's  clear  and  transparent  style  of  coloring,  and  like  him,  painted  bat- 
tles, skirmishes,  attacks  of  robbers,  etc.,  with  great  success.  He  died  in  1638, 
in  the  prime  of  life  ;  but  not  before  he  had  acquired  a  distinguished  reputa- 
tion among  the  artists  of  his  native  country. 


263.    GRAYER,  GASPAR  BE.       Flemish  School 

THE  NATIVITY. 

Gaspar  de  Crayer  was  born  at  Antwerp  in  1582.  "The  biographers  of  the 
Flemish  painters  have  not  hesitated  to  place  this  estimable  artist  on  a  level 


261. 
262. 


58 

CATALOGUE 

with  Rubens  and  Vandyck.   Although  this  high  compliment  may  he  rather 
strained,  he  is  undoubtedly  entitled  to  the  next  rank  after  them,  among  the 
ablest  artists  of  that  school." 

264. 

NETSCHER,  GASPAR.  (after) 

THE  DOCTOR  AND  SICK  LADY. 

The  patient,  attired  in  a  loose  velvet  robe,  trimmed  with  fur,  is  seated  in 
an  arm-chair;  by  her  side  stands  the  physician,  feeling  her  pulse,  and  at  the 
same  time  examining  the  contents  of  a  vial  which  he  holds  up  to  the  light. 
In  the  background  an  attendant  is  seen  arranging  the  bed,  which  the  inva- 
lid seems  to  have  lately  quitted.   The  original  painting  is  in  the  Dresden 
Gallery. 

265. 

PONDEL,  F. 

OLD  WOMAN  COUNTING  MONEY. 

266. 

PONDEL,  F. 

DRUNKEN  BOOR. 

267. 

MOLENAER,  JAN.                Dutch  School. 

THE  FORTUNE-TELLER. 

The  subjects  of  Molenaer  are  chiefly  interiors,  with  merry  makings  of  the 
lower  classes,  "very  well  painted,  with  a  good  management  of  light  and 
shade,  and  characteristic  expression."   He  flourished  from  1625  to  1660. 

268. 

SHAW,  S.  W.                     San  Francisco. 

Portrait.  COLONEL  J.  D.  STEVENSON. 

269. 

SHAW,  S.  W..                    San  Francisco. 

Portrait.  HON.  EDWARD  GILBERT. 

270. 

SHAW,  S.  W.                     San  Francisco. 

Portrait.  GENERAL  JOHN  A.  SUTTER. 

CROCKER  ART  GALLERY.  57 

271    SHAW,  S.  W.  San  Francisco. 

Portrait.  MAJOR  GENERAL  H.  W.  HALLECK. 

272.  SHAW,  S.  W.  San  Francisco. 

Portrait.  COLONEL  E.  D.  BAKER. 

273.  SHAW,  S.  W.  San  Francisco. 

Portrait.    REV.  T.  STARR  KING. 

274.  SHAW,  S.  W.  San  Francisco. 

Portrait.  PETER  LASSEN. 

275.  SHAW,  S.  W.  San  Francisco. 

Portrait.    EDMUND  RANDOLPH. 

276.  SHAW,  S.  W.  San  Francisco. 

Portrait.    WILLIAM  M.  GWIN. 

277.  SHAW,  S.  W.  San  Francisco. 

Portrait.    GENERAL  M.  G.  VALLEJO. 

278.  SHAW,  S.  W.  San  Francisco. 

Portrait.   ROBERT  ROBINSQN. 

279.  SHAW,  S.  W. .  San  Francisco. 

Portrait.   JOHN  P.  LEESE. 

280.  SHAW,  S.  W.  San  Francisco. 

Portrait.    HON.  SAMUEL  PURDY. 


60  CATALOGUE 


281.  SHAW,  S.  W.  San  Franeiseo. 

Portrait.    CAPTAIN  J.  L.  FOLSOM. 

282.  SHAW,  S.  W.  San  Francisco. 

Portrait.    HON.  DAVID  C.  BRODERICK. 

283.  SHAW,  S.  W.  San  Francisco. 

Portrait.    THOMAS  HILL,  Artist. 

284.  SHAW,  S.  W.  San  Francisco. 

Portrait.    HON.  ROMUALDO  PACHECO. 

285.  SHAW,  S.  W.  San  Francisco. 

Portrait.    THOMAS  O.  LARKIN. 

286.  SHAW,  S.  W.  San  Franeiseo. 

Portrait.    PETER  H.  BURNETT. 

287.  SHAW,  S.  W.  San  Francisco. 

Portrait.    COLONEL  JACK  HAYS. 

288.  NAHL,  CHAS.  C.  San  Francisco. 

THE  SABINE  CAPTURE. 

Romulus,  in  order  to  people  his  newly  founded  city,  proclaimed  a  festival 
in  honor  of  the  god  Consus,  and  the  inhabitants  of  the  neighboring  states, 
particularly  the  Sabines,  flocked  to  the  games.  At  a  signal  from  Romulus, 
the  young  Romans  rushed  in  among  them,  sword  in  hand,  and  carried  off 
the  women,  whom  they  forced  to  become  their  wives. 


CROCKER  ART  GALLERY.  61 


289.   NAHL,  CHAS.  C.  San  Franeiseo. 

THE  SABINE  CAPTIVATED. 

Interior  of  a  dwelling  in  Rome.  The  fair  Sabine,  her  eyes  red  with  weep- 
ing, is  reclining  upon  a  couch,  while  the  Roman  youth  endeavors  with 
every  argument  at  his  command,  to  obtain  her  forgiveness,  and  to  win  her 
love. 


290.  NAHL,  CHAS.  C.  San  Franeiseo. 

THE  RECONCILIATION. 

Now  no  longer  a.  Sabine  maiden,  but  a  Roman  matron,  the  young  wife 
tries  to  reconcile  her  savage  father,  with  the  husband  whom  she  loves. 

291.  FARBER,  J.  F.  E. 

VIEW  OF  CARLSBAD. 

The  "most  aristocratic  watering  place  in  Europe,"  situated  in  the  valley 
of  the  Tepl,  on  the  margin  of  a  little  stream  of  the  same  name. 

292.  POTTER,  PAUL.  Dutch  School. 

CATTLE  AND  SHEEP. 

1625—1654. 


293.  UNKNOWN.  Flemish  School. 

THE  HAPPY  FAMILY. 

294.  TIEPOLO,  GIOVANNI  BATTISTA. 

Venitian  School. 

FALCON  HUNTING. 

This  artist,  one  of  the  last  eminent  painters  of  the  Venitian  School,  was 
born  at  Venice  in  1697,  and  died  at  Madrid  in  1770. 

295.  BERGHEM,  NICHOLAS.  Dutch  School. 

LANDSCAPE  WITH  CATTLE  AND  SHEEP. 

1624—1683. 


62  CATALOGUE 


296.    DOLCI,  CARLO.  (after) 

CHRIST  BLESSING  BREAD  AND  WINE, 

In  this  beautiful  picture,  the  artist  represents  the  institution  of  the  Sacra- 
ment of  the  Lord's  Supper.  Holding  the  bread  in  his  left  hand,  and  the  cup 
in  his  right,  the  "  Son  of  Man  "  looks  upward  with  an  expression  of  unspeak- 
able love,  thankfulness  and  adoration.  The  original  is  in  the  Dresden 
Gallery. 

Carlo  Dolci,  one  of  the  most  famous  painters  of  the  17th  century,  was  born 
at  Florence  in  1616.  His  works  are  distinguished  for  the  sweetness  of  their 
expression.   He  died  in  1686. 


297.  UNKNOWN. 

FOR  THE  POOR. 

A  small  child  is  held  up  by  a  little  girl  to  drop  a  coin  into  the  poor  box. 

298.  NETSCHER,  GASPAR.         German  Sehool. 

(Name  Unknown.) 

Represents  a  lady  in  scarlet  skirt  and  long  fur  trimmed  jacket,  standing 
near  a  table,  examining  some  object  in  her  hand.  Pearls  and  some  orna- 
ments lie  upon  the  table,  and  on  a  chair  is  an  open  book. 

Gaspar  Netscher,  born  at  Heidelberg  in  1639,  formed  his  style  after  that  of 
Terburg  and  Metsu.   He  died  at  The  Hague  in  1684. 


299.    TITIAN  VECELLI.  (after) 

TITIAN'S  MISTRESS. 

By  her  side  stands  a.  man  holding  two  mirrora,  in  one  of  which,  she  compla- 
cently admires  her  magnificent  hair  which  she  holds  up  with  her  right  hand, 
while  the  other  reflects  a  view  of  her  back.  The  lady's  left  hand  is  laid  on  a 
vial  of  perfume  which  rests  on  the  table. 


300.    SEYDEL,  ED.  Dresden. 

BAD  NEWS  AT  THE  BOURSE. 


301.    SEYDEL,  ED.  Dresden. 

GOOD  NEWS  AT  THE  BOURSE. 


CROCKER  ART  GALLERY.  63 


302.    VANLOO,  JEAN  BAPTISTE.    French  School. 

BATHSHEBAH  AT  THE  BATH. 

J.  B.  Vanloo  was  born  at  Aix,  in  Provence,  in  1684.  Through  the  kindness 
of  his  patron,  the  Prince  of  Carignan,  he  was  enabled  to  visit  Rome  and 
study  the  works  of  the  great  masters.  On  his  return  he  became  a  member 
of  the  Paris  Academy,  and  his  best  pictures  are  to  be  found  in  that  city. 
He  died  in  1746. 


303.    SCHMELZER,  J.  B. 

THE  OFFENDED  DANCER. 

Something  of  an  unpleasant  nature  must  have  happened  to  the  peasant 
lad,  who  is  seated  at  the  table  indulging  in  anything  but  happy  thoughts. 
Most  likely  some  fair  one  is,  at  least  partially,  to  blame,  but  it  is  to  be  hoped 
that  the  "offended  dancer"  will  yield  to  the  solicitations  of  the  old  man, 
drink  the  glass  of  foaming  beer  which  isbimight  to  him  by  one  of  the  rustic 
beaux,  and  then  once  more  join  in  the  merriment,  which  his  ill-humor  has 
to  some  extent  interrupted. 


304.   MIGNARD,  PIERRE.  French  School  ' 

DIDO  STABBING  HERSELF. 

The  foundress  of  Carthage,  being  threatened  with  war  by  King  Iarbas  of 
Mauritania,  unless  she  consented  to  wed  him,  stabbed  herself  to  avoid 
breaking  a  vow  by  which  she  had  sworn  eternal  fidelity  to  her  husband, 
Sichaeus. 

Pierre  Mignard,  born  at  Troyes  in  1610,  was  a  celebrated,  painter  in  the 
Court  of  Louis  XIV.  "His  portraits  are  in  general  elegant  and  sweetly  col- 
ored, particularly  his  women."   He  died  at  Paris  in  1695. 


305.  RUBENS.      (School  of) 

JOSEPH  AND  POTIPHAR'S  WIFE. 

306.  RAPHAEL  SANZIO.  (after) 

RAPHAEL,  BY  HIMSELF. 

Raphael's  likeness  is  "beautiful,  simple  and  mild— the  mirror  of  the  pure 
mind  from  which  emanated  his  earlier  works." 


64  CATALOGUE 


307.  SANDRART,  JOHN  JACOB  VON. 

German  School. 

THE  NATIVITY. 

This  artist  was  born  at  Ratisbon  in  1655.  He  studied  under  his  father  and 
great-uncle,  both  of  whom  were  painters  of  some  note,  and  acquired  con- 
siderable distinction  in  his  day  in  Germany,  both  as  an  historical  and  por- 
trait painter.   He  died  at  Nuremberg  in  1698. 

308.  PANNINI,  CAV.  GIOVANNI  PAOLO. 

Roman  School. 

RUINS  OF  THE  ARCH  OF  TITUS  IN  ROME. 

"  Thou  art  in  Rome,  that  city  where  the  Gauls 
Entering  at  sunrise  through  her  open  gates, 
And  through  her  streets,  silent  and  desolate, 
Marching  to  slay,  thought  they  saw  gods,  not  men  ; 
The  city  that  by  temperance,  fortitude, 
And  love  of  glory,  towered  above  the  clouds — 
Then  fell—but  falling,  kept  the  highest  seat, 
And  in  her  loneliness,  her  pomp  of  woe, 
Where  now  she  dwells,  withdrawn  into  the  wild, 
Still  o'er  the  mind  maintains  from  age  to  age, 
Her  empire  undiminished." 

Born  at  Piacenza  in  1691,  Pannini  went  at  an  early  age  to  Rome,  where  he 
studied  perspective  under  Pietro  Lucatelli,  and  applied  himself  in  design- 
ing the  monuments  of  ancient  architecture  in  the  vicinity  of  that  capital. 
He  died  at  Rome  in  1764. 


309.  NEUSTATTER,  L. 

MOTHER  AND  CHILDREN. 

In  a  modest  interior,  a  young  peasant  woman  watches  her  two  children  at 
play. 

310.  BREMOND,  JEAN  Paris. 

CUTTING  CUPID'S  WINGS. 


311.    ADAM,  BENNO.  (after) 

COUNTRY  QUARTERS. 

•  The  interior  of  a  country  stable,  containing  a  handsome  grey  charger  and 
a  pair  of  goats.  The  original  is  in  the  Royal  Bavarian  collection  at  Schleiss- 
heim. 


CROCKER  ART  GALLERY.  65 


312.   BABY,  F.  Dresden. 

CHARLES  V  AT  LUTHER'S  GRAVE  IN  THE  CHURCH 
AT  WITTENBERG. 

The  Emperor  being  importuned  by  Granvelle  to  have  the  bones  of  the 
"  arch  heretic  "  exhumed,  replied:  "  Let  them  rest ;  we  wage  war  with  the 
living,  not  with  the  dead." 


313.  CBANACK,  LUCAS.  German  School 

PORTRAIT  OF  MELANCHTHON. 

1472—1553. 

Philip  Melanchthon,  the  second  leader  of  the  Lutheran  Reformation,  was 
born  at  Bretten,  in  the  Grand  Duchy  of  Baden,  in  1497,  and  died  at  Witten- 
berg in  1560. 

314.  UNKNOWN. 

WOMEN  BATHING. 

315.  UNKNOWN. 

FEEDING  THE  DONKEY. 

316.  QUELLINUS,  EBASMUS.        Flemish  School. 

CHARITY, 

1609—1678. 

317.  FRIEDRICH,  A. 

PLOUGHING. 

318.  UNKNOWN. 

THE  VINEYARD. 

319.  UNKNOWN.  Italian  School. 

DAVID  PLAYING  THE  HARP  BEFORE  SAUL. 


66 


CATALOGUE 


320.  CARACCI,  LUDOVICO.        Bolognese  School 

MADONNA  AND  CHILD. 

1555—1619. 

Small  picture  of  the  Madonna  in  crimson  vest  and  dark  blue  mantle,  fast- 
ened on  the  right  shoulder.  Her  right  arm  is  round  the  child,  who  holds  a 
cross  in  his  left  hand,  while  his  right  leans  on  a  table. 

321.  STOCKHAMMER. 

JOASH  STONING  ZACHARIAS. 

II  Chronicles,  Chap.  XXIV,  v.  20,  21. 

322.  STOCKHAMMER. 

HEZEKIAH  EXHIBITING  HIS  TREASURES, 

II  Kings,  Chap.  XX,  v.  13. 

323.  UNKNOWN.      German  School,  17th  Century. 

ROSES  AND  FORGET-ME-NOTS. 

324.  SCHALCKEN,  G.  Dutch  School. 

SCHOLAR  BY  LAMPLIGHT. 

325.  PASSAGURE 

BEER  HOUSE  SCENE. 

326.  BREMOND,  JEAN.  Paris. 

ROMAN  BATHS. 

327.  UNKNOWN. 

Portrait.    A  LADY  WITH  POWDERED  HAIR. 


CROCKER  ART  GALLERY.  67 


328.    RUBENS,  PETER  PAUL.  (after) 

ORPHEUS  BEFORE  PLUTO. 

Lyre  in  hand,  Orpheus  followed  his  wife  to  Hades,  where  he  so  charmed 
the  nether  gods,  that  they  consented  to  restore  his  Eurydice,  if  he  would 
refrain  from  looking  behind  him,  until  he  had  passed  the  boundaries  of 
their  dominions.  Unhappily  he  could  not  restrain  his  desire,  and  as  he 
glanced  back,  Eurydice  vanished  forever  from  his  sight. 


329.    BEHRINGER,  L. 

ARTILLERY  REVIEW  OF  BAVARIAN  TROOPS. 


330.  BE  VOS. 

PERFORMING  DOGS  OF  BRUSSELS. 

331.  HEALY.  (after) 

PORTRAIT  OF  ANDREW  JACKSON. 


MURANT,  EMANUEL.  Dutch  School 

AN  OLD  CABIN. 

The  date  of  the  artist's  birth  is  somewhat  uncertain,  it  was,  however, 
probably  about  the  year  1622  that  he  was  born,  at  Amsterdam.  Although  a 
pupil  of  Philip  Wouverman's,  he  did  not  adopt  the  same  subjects  as  that 
master,  but  painted,  instead  of  horse  fairs  and  hunting  scenes,  chiefly  views 
of  towns  and  ruined  buildings  in  Holland,  which  he  finished  with  wonderful 
accuracy  and  precision.  Murant's  pictures  are  rarely  met  with,  and  are 
highly  esteemed.   He  died  at  Lewarde,  in  Friesland,  in  1700. 


332. 


333.  SCHULTZ,E.C. 

ENGLISH  HUNTING  SCENE. 

A  spirited  little  picture.  The  three  huntsmen  who  are  fortunate  enough 
to  be  in  "at  the  death,"  would  probably  not  share  our  sympathy  for  the  last 
agony  of  the  poor  stag. 


334.   JAPANESE  PICTURE. 


68 


CATALOGUE 


335.   SCHULTZ,  C.  G.  German  School 

LANDSCAPE. 

Christian  George  Schultz  was  born  at  Floershefm,  about  the  year  1730.  He 
painted  small  pictures  of  views  on  the  Rhine  and  very  highly  finished  land- 
scapes. 


336.   SYLVESTRE,  L.  French  School 

PORTRAIT  OF  FREDERIC  THE  GREAT. 

Half  length  portrait  of  Frederic  II  of  Prussia,  surnamed  the  Great,  painted 
by  Louis  Sylvestre,  a  distinguished  French  artist,  born  at  Paris  in  1675,  and 
died  in  1760. 


337.   SJAMAAR,  P.  G. 

SUPPER  TIME. 

A  candle  and  fire-light  effect.  At  the  head  of  the  table  sits  the  master  of 
the  house,  and  four  other  men  are  sitting  and  standing  round  it.  A  woman 
is  busy  at  the  open  fire  place  baking  pancakes,  a  fresh  installment  of  which 
has  just  been  brought  to  the  table  by  a  buxom  maid,  whom  a  half  tipsy  look- 
ing man  is  jocosely  chucking  under  the  chin. 


338.   EBERLE,  A.  Munich. 

PILLAGING  SOLDIERS. 

On  an  eminence  in  the  background,  we  see  a  flaming  house,  the  owners  of 
which,  to  all  appearance  people  of  rank  and  distinction,  have  been  taken 
prisoners,  and  are  conveyed  across  the  country,  carefully  guarded  by  the 
soldiers,  who  probably  expect  to  receive  in  addition  to  their  booty,  a  heavy 
ransom  for  their  captives. 


339.   SEYDEL,  ED.  Dresden. 

SAD  INTELLIGENCE. 

This  picture  tells  its  story  at  a  glance.  To  the  right,  in  the  interior  of  a 
German  cottage,  sits  a  man  holding  a  letter  in  his  right  hand,  while  his  left 
has  fallen  helplessly  by  his  side.  His  wife,  seated  on  a  stool  to  the  left,  is 
bowed  down  in  the  first  sharp  agony  of  a  grief  almost  too  hard  to  bear.  Her 
son,  her  only  son !  On  the  table  lies  his  watch ;  there  are  the  last  lines 
written  ere  his  eyes  closed  in  death— poor  sad  tokens  of  him  whose  body 
now  fills  a  soldier's  grave.  Tenderly  and  pityingly,  the  comrade  who  has 
brought  the  sad  news,  stands  by  the  stricken  pair,  silently  sharing  the  grief 
which  he  is  powerless  to  assuage. 


CROCKER  ART  GALLERY. 


69 


340.   KOLITZ,  L.  Dusseldorf. 

BIRD  SHOOTING  ON  THE  RAMPARTS  OF  A  RHENISH 
TOWN. 


341.    GILLE,  C.  Dresden. 

VIEW  IN  PLAUEN  NEAR  DRESDEN. 


342.   LELIENBERG,  C.  Dutch  School 

FLEMISH  VEGETABLE  DEALER. 

We  have  here  one  of  the  ordinary  scenes  of  every-day  life,  which  the 
painters  of  the  Dutch  School  delighted  in  transferring  to  their  canvas. 
Behind  a  table,  on  which  cauliflowers,  artichokes,  onions  and  cabbages  are 
exposed  for  sale,  stands  an  old  woman,  holding  a  bunch  of  tempting  looking 
grapes  in  her  left  hand,  and  extending  her  right  towards  the  spectator. 
The  woman  is  a  capital  representation  of  her  class,  and  the  entire  picture  is 
excellent. 

Little  is  known  of  Lelienberg's  personal  history.  He  flourished  in  Holland 
about  the  middle  of  the  17th  century,  and  painted  objects  of  still  life  and 
representations  of  huntings,  and  dead  game  in  the  style  of  YVeenix. 


343.    VERSHUR,  W. 

HALT  BEFORE  THE  INN. 


344.   ROSA,  SALVATORE.  (after) 

MARINE  VIEW,  HARBOR  AND  SHIPYARD. 


TENIERS,  DAVID,  The  Younger. 

Flemish  School. 

GALLERY  OF  PAINTINGS. 

David  Teniers,  born  at  Antwerp  in  1610,  received  his  first  instruction  in 
painting  from  his  father,  the  elder  Teniers;  he  afterwards  studied  under 
Adrian  Brouwer,  and  is  said  to  have  been  for  some  time  the  pupil  of  Rubens. 
The  works  of  Teniers,  although  exceedingly  numerous,  are  held  in  the 
highest  estimation,  and  in  subjects  relating  to  common  life,  he  is  the 
greatest  of  Flemish  painters.  He  died  at  Brussels  in  the  year  1694,  at  the 
advanced  age  of  84. 


345. 


70 


CATALOGUE 


346.    VOLLMAR,  L.  Munich. 

HALF  FRIGHTENED,  HALF  PLEASED. 

The  little  maiden  trying  to  climb  into  her  mother's  lap,  is  struggling 
between  fear  and  pleasure  at  sight  of  her  brother's  squirrel. 


347.   SEYDEL,  ED. 

FOR  THE  POOR. 

Cottage  interior.  It  is  Sunday  morning,  and  through  the  open  casement 
we  have  a  glimpse  of  the  neighboring  church,  whose  bell  swings  to  and  fro, 
calling  the  faithful  to  mass.  Too  feeble  to  go  herself,  grandmother  sits  in 
the  easy  chair  with  her  prayer  book  on  her  knee.  She  has  just  taken  a  coin 
from  her  purse,  and  hands  it  "for  the  poor"  to  the  youngest  of  the  three 
little  ones,  who,  under  the  guidance  of  their  somewhat  older  sister,  are 
ready  to  set  off  for  church.  The  children's  mother  is  laying  an  infant  into 
the  cradle,  in  the  cheerful  little  room,  which  is  made  bright  with  flowers  on 
shelf  and  window  sill,  and  a  wreath  of  roses  twined  round  the  crucifix  on 
the  wall. 


348,    VISCHER,  AUGUST. 

HARVEST  FESTIVAL  AND  DANCE  IN  BAVARIA. 

The  beauty  of  the  Bavarian  country  maidens  before  us  would  do  honor 
to  a  court  ball  room ;  and  if  their  steps  are  somewhat  different  from  those 
with  which  we  are  familiar,  yet  they  move  through  the  dizzy  mazes  with 
untutored  grace,  and  at  all  events,  happiness  reigns  in  the  rustic  assembly. 


349.  MEIXNER  or  MEISENER,  LUDWIG. 

MARINE  VIEW. 

350.  BUSH,  N.  San  Francisco. 

MORNING  IN  THE  CORDILLERAS. 


Dresden. 


351.   DIEPENBECK,  A.  VAN.        Flemish  School. 

HERCULES  AND  OMPHALE. 

In  the  centre  of  the  picture.  Hercules  is  seated,  distaff  in  hand ;  to  the 
right  Omphale,  with  the  skin  of  the  Neinean  Lion  thrown  across  her  shoul- 
der, is  pulling  her  slave  by  the  ear.  Female  attendants  of  the  queen  are 
behind  Hercules,  and  two  children  are  at  his  feet. 

Abraham  van  Diepenbeck,  a  pupil  of  ltubens,  was  born  at  Bois-le-Duc  in 
1607,  and  died  at  Antwerp  in  1675, 


CROCKER  ART  GALLERY.  71 


352.   RUG  END  AS,  C.  P.  German  School 

CAVALRY  FIGHT. 

This  artist  was  born  at  Augsburg  in  1666.  His  genius  led  him  to  paint 
chiefly  military  subjects,  in  which  he  excelled,  and  for  which  he  acquired 
considerable  fame.  His  works  are  highly  esteemed,  and  are  found  in  the 
most  choice  collections  of  Europe.   Rugendas  died  in  1742. 


353.   LORRAINE,  CLAUDE  French  School 

LANDSCAPE. 

Claude  Gelee,  called  Lorraine,  was  born  at  Champagne,  in  Lorraine,  in  the 
year  1600,  and  died  at  Rome,  November  21st,  1682.  The  Prince  of  Landscape 
Painters  "presents  to  the  beholder  such  an  infinity  of  objects,  and  conveys 
him  over  such  a  'variety  of  hill  and  dale,  and  misty  mountains,' that  the 
eye  may  be  said  to  be  constrained  as  it  wanders,  to  repose  itself  on  the  way. 
*  *  *  *  In  his  pictures  of  morning,  the  rising  sun  dissipates  the  dews, 
and  the  fields  and  verdure  brighten  at  the  approach  of  day;  his  evening 
skies  expand  a  glowing  splendor  over  the  horizon ;  vegetation,  oppressed 
by  a  sultry  aridity,  sinks  under  the  burning  heat  of  the  sun.  It  is  thus  that 
Claude,  with  an  unexampled  felicity,  represents  the  vicissitudes  of  air  and 
atmosphere,  in  which  he  may  be  said  to  dispute  the  veracity  with  nature 
herself." 


354.    QUAGLIO,  L. 

WEDDING  FESTIVAL  IN  BAVARIA. 


355.    HADNER,  GEORGE  VON. 

MARKET  SCENE  BY  LANTERNS  AND  MOONLIGHT. 


356.   PLUDDEMANN.  (after) 

BARBAROSSA. 

The  enraged  Count  Palatine  of  the  Rhine,  has  drawn  his  sword  upon  the 
Archbishop  of  Mentz,  and  Frederic  Barbarossa,  Emperor  of  Germany  (1121- 
1190)  is  separating  priests  and  nobles. 


357.   SCHOLTZ,  JULIUS. 

GERMAN  PEASANT  WEDDING. 

The  bridal  partv  has  just  emerged  from  the  church,  and  the  usual  crowd  is 
assembled  to  view  the  interesting  scene. 


72  CATALOGUE 


358.  ZIMMERMANN,  R.  SEBASTIAN. 

Hagenau  in  Baden. 

WINE  DEALERS. 

359.  PETZOLD,  KARL.  Dresden. 

THE  VULTURE'S  HOME. 

Well  might  the  eyrie  of  the  bird  of  prey  be  found  among  these  rocky  crags, 
which  rear  their  proud  summits  well  nigh  to  the  clouds.  In  this  bleak  soli- 
tude, the  foot  of  man  scarce  penetrates,  and  no  sound  is  heard,  save  the 
splashing  of  the  water  on  the  rocks,  the  cry  of  the  vulture,  and  the  swoop  of 
his  wings  as  he  cleaves  the  air  in  his  downward  flight. 


360.   LAENEN,  VAN  DER9  J.        Flemish  School. 

PORTRAIT  OF  GUSTAVUS  ADOLPHUS. 

The  great  king  of  Sweden,  painted  by  Christopher  Jan,  otherwise  Jacob 
Van  der  Laenen,  a  pupil  of  Kubens,  born  at  Antwerp  in  the  year  1570,  died 
1628. 


361.  SEYDEL,  ED.  Dresden. 

MOTHER  AND  CHILD. 

362.  MUHLIG,  MENO.  Dresden. 

THE  SCHOOLMASTER. 

Interior  of  a  village  school.  The  master  is  explaining  something  on  the 
blackboard  to  his  little  barefooted,  ragged  scholars. 


363.   FRANCKEN,  FRANCIS.        Flemish  School. 

PERSIAN  SACRIFICE. 

This  artist  was  born  at  Antwerp  about  1546,  studied  under  Francis  Floris, 
and  was  received  into  the  Academy  at  Antwerp  in  1581  His  most  esteemed 
work  is  an  altar  piece,  which  he  painted  for  the  cathedral  of  that  city.  His 
easel  pictures  are,  however,  preferred  to  his  larger  works;  "they  are  well 
colored,  and  touched  with  great  freedom  and  effect."  He  died  in  his  native 
city  in  1616. 


CROCKER  ART  GALLERY. 


73 


364.    MAIER,  A. 

VETERAN  TEACHING  HIS  BOY. 

An  old  soldier  drilling  a  little  boy,  his  grandson,  and  an  old  woman  at  her 
spinning  wheel,  looking  on. 


365.  REMBRANDT,  VAN  RHYN  (after) 

EXPULSION  OF  HAGAR. 

366.  PIOMBO,  FRA  SEBASTIANO  DEL. 

Venitian  School. 

THE  INFANT  BACCHUS. 

This  distinguished  artist,  born  at  Venice  in  1485,  was  known  by  the  name 
of  Sebastiano  Veneziano,  until  the  Pope  bestowing,  upon  him  the  office  of 
Keeper  of  his  Chancery  Seal,  made  it  necessary  for  him  to  assume  the 
religious  habit,  along  with  which  he  adopted  the  title  of  Fra  Sebastiano  del 
Piombo.  He  was  successively  the  scholar  of  Bellini,  Georgioni  and  Michel 
Angelo  Buonaroti,  and  after  the  deatli  of  Raffaelle,  he  was  reputed  the  most 
distinguished  artist  at  Rome.  He  died  in  1547. 


367.    WICHMANN,  A.  F.  G.  Dresden. 

MADONNA  AND  CHILD. 


368.   MALI,  CHRISTIAN.  Munich. 

SUABIAN  VILLAGE  AFTER  A  RAIN. 


369.   MERTZ.  Antwerp. 

CONDOLING  WITH  THE  WIDOW. 

A  stately  old  lady,  herself  in  the  garb  of  a  widow,  with  large  ruff  and  long, 
flowing  black  veil,  has  advanced  towards  a  young  and  handsome  woman, 
who  is  seated  at  a  table.  The  old  lady  holds  between  both  her  hands,  the 
right  hand  of  the  young  widow,  whose  blonde  hair,  drawn  back  from  her 
face,  is  partly  confined  in  a  net,  the  rest  escaping  in  luxuriant  curls.  Her 
face,  which  is  seen  in  profile,  expresses  sadness  and  grief.  To  the  left,  two 
children  are  looking  at  a  picture  book,  and  to  the  right  a  female  attendant 
is  guiding  the  first  toddling  steps  of  a  little  child. 


74  CATALOGUE 


370.  METZU,  GABRIEL      (after)  . 

THE  GAME  DEALER. 

This  picture,  a  servant  girl  bargaining  for  a  hare,  represents  a  homely 
scene  of  every-day  life.   The  original  is  in  the  Dresden  Gallery. 

371.  LAZER,  THEODORE.  Dresden. 

GIRL  FEEDING  A  BIRD. 

372.  PREYER,  JOHN  WILLIAM.  (after) 

A  MUNICH  LUNCHEON. 


373.    DIETRICH,  CHRISTIAN  W.  ERNEST. 

German  School. 

ORIENTAL  PRINCE. 

1712—1774. 

This  Oriental  has  a  noble  face  and  venerable,  silvery  beard ;  he  wears  a 
white,  gold-embroidered,  jewelled  turban.  The  figure  is  seen  below  the 
waist,  and  the  right  hand  is  extended  as  if  pointing  to  something. 


374.    FRANZ,  C. 

THE  STUDENTS. 

The  long  pipes,  rapiers  and  smart  little  caps  which  adorn  the  walls,  reveal 
the  apartment  of  that  very  jovial  creature,  the  German  university  student. 
No  books  are  to  be  seen,  but  the  customary  disorder  prevails  in  the  reom. 
Two  young  men  are  seated  in  easy  attitudes,  enjoying  a  smoke. 


375.  BRIGGS. 

PYRAMID  PEAK,  ON  RUSSIAN  RIVER,  CAL. 


376.    OSTADE,  ISAAC  VAN.  Dutch  School. 

TAVERN  SCENE. 

Had  this  talented  artist  been  granted  a  longer  career,  he  bid  fair  to  have 
reached  an  eminent  rank  among  the  best  painters  of  the  Dutch  School.  He 
was  born  at  Lubeck  about  1617,  and  died  at  the  early  age  of  thirty-six. 


CROCKER  ART  GALLERY.  75 


377.    LIBRI,  GIROLAMO  DA.       Veronese  School. 

WOMAN  WITH  CHERRIES. 

This  artist  acquired  from  his  father's  occupation,  which  was  that  of  an 
illuminator  of  books,  his  surname  of  da  Libri.  He  was  born  at  Verona  in 
1474,  and  died  in  1555.  His  pictures  are  noted  for  their  fine  expression  and 
finished  style.   His  manner  resembles  that  of  Bellini. 


378.   RIBERA,  JOSE.  Spanish  School. 

OLD  MAN  AND  BOY. 

Ribera,  surnamed  il  Spagnaletto,  was  born  at  Xativa  in  1589,  died  at  Naples 
in  1656. 


379.   LACHENWITZ,  F.  S.  Dresden. 

WOLVES  ATTACKING  WILD  HORSES. 

A  troop  of  wild  horses  scouring  across  the  snow-covered  steppes,  are 
attacked  by  a  horde  of  famished  wolves.  The  animals  are  in  every  variety 
of  attitude,  and  an  expression  of  terror  and  agony  shines  in  the  eyes  of  the 
horses,  as  they  struggle  with  and  try  to  escape  from  their  savage  pursuers. 
You  can  almost  fancy  you  hear  their  frightened  snorting,  and  the  dismal 
howling  of  the  wolves  echo  across  the  distant  plains. 


380.    VQJLTZ,  FR. 

CATTLE  PIECE. 

In  a  landscape  of  delicious  freshness  and  beauty,  some  cattle  are  reposing 
under  the  spreading  branches  of  a  tree,  while  others  are  approaching  the 
stream  to  slake  their  thirst  in  its  cool  inviting  waters.  A  herdsman,  with 
his  dog  by  his  side,  is  reclining  on  a  shady  bank. 


381.   INGEMNEY,  L.  M. 

WANDERING  MECHANIC  MAKING  HIS  TOILET  BEFORE 
ENTERING  THE  VILLAGE. 


382.   DAMSCHRODER,  S.  J.  M. 

THE  VILLAGE  ORACLE. 

Grouped  round  a  table  in  various  attitudes,  are  six  figures.  Two  women 
to  the  right,  one  of  whom  holds  a  glass  of  wine  in  her  right  hand,  are 
engaged  in  private  conversation,  on  a  topic  of  absorbing  interest  to  them- 


76  CATALOGUE 


selves.  The  man  and  boy  on  the  far  side  of  the  table,  as  well  as  the  indi- 
vidual who  is  standing  up,  ready  to  take  his  departure,  are  lending  an  atten- 
tive ear  to  the  discourse  of  the  veteran,  whose  varied  experience  has  earned 
for  him  the  right  to  the  title  of  Oracle,  and  who  is  now  laying  down  the  law 
with  considerable  emphasis.  At  the  open  casement  stands  a  young  girl, 
her  face  seen  in  profile,  whose  looks  are  bent  rather  upon  the  man  beside 
the  "Oracle,"  than  upon  the  latter,  and  her  attention  is  returned  with 
interest.  The  girl's  position  is  easy  and  natural,  and  the  entire  picture  is 
painted  in  the  artist's  exceedingly  happy  and  pleasing  manner. 


383.   ZURBARAN,  FRANCISCO.     Spanish  School. 

JOB  COMFORTED  BY  HIS  WIFE. 

Francisco  Zurbaran,  the  son  of  a  husbandman,  was  born  at  Fuente  de 
Cantos,  near  Seville,  in  1596.  As  he  early  evinced  much  taste  and  skill  in 
painting,  he  was  released  from  the  plough  and  placed  under  the  tuition 
of  Juan  de  Roelas,  where  he  soon  acquired  a  considerable  reputation.  In 
1650,  he  was  sent  for  by  King  Philip  to  paint  the  Labors  of  Hercules,  in  the 
palace  of  Buenretiro.  During  the  progress  of  the  work,  he  was  often  visited 
by  his  royal  patron,  who  on  one  occasion  was  pleased  to  express  his  admira- 
tion by  laying  his  hand  upon  the  artist's  shoulder,  and  calling  him  "painter 
of  the  king,  and  king  of  painters."  Zurbaran  was  of  the  naturalist  school  in 
light  and  shade  and  color,  and  is  called  the  Spanish  Caravaggio  ;  he  made  a 
special  study  of  draperies,  which  are  invariably  well  managed  in  his  pic- 
tures.  Ho  died  at  Madrid  in  1662. 


384.    QUERFURTH,  AUGUSTUS.    German  School. 

THE  DUKE  OF  MARLBOROUGH  AND  HIS  STAFF. 

1696—1761. 


385.   BEICHLING,  C. 

OLD  FORT  IN  WINTER. 


386.  .  DE  HEEM,  DAVID. 

FRUIT  PIECE. 

This  artist,  born  at  Utrecht  in  1570,  was  an  excellent  painter  of  fruit, 
flowers,  and  other  objects  of  still  life.  There  is  a  fine  group  of  flowers  by 
him  in  the  Museum  at  Brussels.  He  died  in  1632. 


CROCKER  ART  GALLERY. 


77 


387.   RUBENS,  PETER  PAUL.  (after) 

THE  GARDEN  OF  LOVE. 

Rubens  represents  in  the  Garden  of  Love,  various  couples  in  the  elegant 
costume  of  his  time,  enjoying  the  pleasures  of  music  and  dalliance  in  the 
open  air.  At  the  right,  the  picture  contains  a  portrait  of  his  friend  and 
pupil  Van  Dyck,  and  at  the  left  that  of  Rubens  himself  and  his  second 
wife,  Helena  Forman.  There  are  two  representations  of  this  subject,  one  is 
in  the  Gallery  at  Madrid,  the  other  in  the  Dresden  Gallery. 


388.    HONDEKOETER,  MELCHIOR.  Butch  School. 

FOWLS. 

This  artist,  descended  from  noble  parents,  was  born  at  Utrecht  in  1636. 
He  received  his  first  instruction  from  his  father,  likewise  a  painter  of  con- 
siderable merit.  On  the  death  of  the  elder  Hondekoeter,  Melchior  went 
into  the  studio  of  his  uncle,  John  Baptiste  Weenix,  by  whose  assistance  he 
soon  became  a  distinguished  painter  of  live  fowls,  game  and  similar  objects. 
"  His  touch  is  firm  and  bold,  and  his  coloring  rich  and  mellow."  He  died  in 
1695. 


389.    UNKNOWN.  Italian  School. 

MOSES  AND  THE  BRAZEN  SERPENT. 


390.   SEYDEL,  ED.  Dresden. 

MUSICIANS  SEEKING  SHELTER  FROM  THE  STORM. 


391.    BRAKELEER,  ADRIEN. 

THE  VILLAGE  ARMORER. 

Interior  of  armorer's  shop.  A  sturdy,  muscular  man  with  grizzly  beard  Is 
seated  pipe  in  hand  before  the  anvil,  ready  to  take  a  glass  of  ale  from  the 
hand  of  a  fine  looking  young  woman,  his  daughter  probably.  A  man  is  at 
work  near  the  window  in  the  background,  and  a  boy  is  occupied  at  a  table 
to  the  left. 


392.    OSTADE,  ISAAC  VAN.  Dutch  School. 

THE  HORNPIPE. 

1617—1663. 


78  CATALOGUE 


393.   MUHLIG,  MENO.  Dresden. 

THE  HUNTER'S  RETURN. 


394.    HEINE,  A.  Munich. 

KEPT  IN. 

This  humorous  and  interesting  picture  introduces  us  to  the  interior  of  a 
village  school.  Lessons  are  over,  and  with  various  admonitions  from  the 
dominie,  the  children  are  dismissed  ;  all  except  the  unlucky  ones  for  whom 
the  sums  have  proved  insurmountable  difficulties,  or  w"ho  have  otherwise 
incurred  the  dreaded  punishment  of  being  kept  in.  One  aggravating  little 
fellow  is  making  a  face  behind  the  master's  back  at  his  unfortunate  school- 
mate; but  from  the  clenched  fists  and  scowling  look  of  the  latter,  we  may 
infer  that  as  soon  as  circumstances  permit,  the  insult  will  be  avenged.  Of 
the  remaining  three  culprits,  the  youngest  boy  is  intently  watching  the 
scene  just  mentioned,  one  little  girl  is  crying  bitterly,  and  an  older  one  is 
looking  with  a  troubled  expression  at  the  book  in  her  hand.  A  map  and 
violin  hang  on  the  wall  behind  the  master's  desk,  on  which  lie  pens,  ink, 
books  and  paper,  as  well  as  the  Ruthe,  the  German  instrument  of  punish- 
ment, which  points  with  cruel  significance  to  the  words  on  the  blackboard  : 
"  Wer  nicht  hort,  muss  fuhlen. 


395.  WICHMANN,  A.  F.  G.  (after) 

TITIAN'S  PLEASURE  PARTY. 

396.  MEULEN,  PETER  VAN  DER. 

Flemish  School 

LANDSCAPE  WITH  CATTLE. 

Peter,  a  brother  and  scholar  of  Anthony  Francis  Van  der  Meulen,  was 
originally  bred  as  a  sculptor,  but  abandoned  that  art  for  painting.  He 
flourished  about  the  middle  of  the  17th  century. 


397.  ROSA,  SALVATORE.        Neapolitan  School. 

THE  WILD  BULL  HUNT. 

1615-1673. 

398.  CRANACK,  LUCAS.  German  School. 

CHRIST  BLESSING  THE  CHILDREN. 

1472—1553. 


CROCKER  ART  GALLERY. 


79 


399.   DAHL,  S.  Florence. 

IL  PIFFERARO. 

Represents  an  Italian  piper  or  Pifferaro  with  an  immense  bagpipe,  stop- 
ping before  one  of  the  street  shrines  of  the  Madonna,  to  serenade  the 

"Maid,  yet  mother, 
Goddess,  yet  woman — like  none  other 
That  still  rememhereth  in  Heaven 
The  heart— the  hopes— to  woman  given." 


400.   IE  SUEUR,  EUSTACHE.        French  School 

CHRIST  AT  THE  TEMPLE  WITH  THE  DOCTORS. 

The  artist  has  represented  the  moment  when  Joseph  and  Mary  enter  the 
temple  and  find  Christ  "sitting  in  the  midst  of  the  doctors,  hoth  hearing 
them  and  asking  them  questions."  Mary  has  laid  her  left  hand  upon  her 
son's  shoulder,  and  is  saying  to  him :  "  Son,  why  hast  thou  thus  dealt  with 
us?  Behold  thy  father  and  I  have  sought  thee  sorrowing."  To  which 
words  came  the  reply:  "How  is  it  that  ye  sought  me;  wist  ye  not  that  I 
must  be  about  my  father's  business?  " 

Eustache  Le  Sueur,  the  son  of  an  obscure  sculptor,  was  born  at  Paris  in 
1617.  "  His  style  exhibits  little  of  the  character  of  his  country,  and  the  sim- 
plicity of  his  compositions  and  the  poetry  of  his  design  procured  him  the 
honorable  title  of  the  French  Raffaelle.  *  *  *  His  compositions  are  noble 
and  elevated,  and  there  is  a  naivete  in  the  air  of  his  heads,  and  in  his  atti- 
tudes, which  is  extremely  interesting  ;  his  draperies  are  simply  and  grandly 
cast,  and  though  his  coloring  is  without  vigor  or  force,  it  is  tender  and  deli- 
cate, and  well  adapted  to  the  particular  character  of  his  works,"  This  dis- 
tinguished painter  died  in  1655. 


401.    GOUNE,  THEODORE.  Dresden. 

CHRIST  RAISING  JAIRUS'  DAUGHTER. 

In  this  exquisite  picture,  Goune  illustrates  the  passage  in  the  fifth  chapter 
of  Marc,  verse  40  and  41.  The  calm  and  dignified  face  of  Christ  is  rather 
more  satisfactory  to  the  spectator  than  is  usual  in  paintings.  In  crimson 
robe  and  dark  blue  mantle,  He  stands  by  the  bedside,  His  left  hand  holding 
that  of  the  maiden,  whom  He  has  just  bidden  to  "arise,"  while  with  His 
right,  He  points  upward.  The  face  of  the  girl  is  beautiful,  and  the  death- 
like pallor  of  the  flesh  is  admirably  represented.  At  the  foot  of  the  bed 
kneels  the  mother ;  love  and  infinite  yearning  in  the  eyes  that  can  scarce 
believe  or  comprehend  what  they  in  very  truth  behold,  and  her  hands 
clasped  in  gratitude  and  prayer  to  the  Lord  and  Giver  of  Life.  In  the  back- 
ground, to  the  left,  stands  Jairus,  astonishment  at  the  miracle  just  wrought, 
overcoming  for  the  moment  even  the  father's  joy.  In  the  open  door  appears 
the  unmistakable  face  of  the  Beloved  Disciple,  beside  him  Peter  and  James, 
the  three  witnesses  of  this  solemn,  never-to-be-forgotten  scene,  standing 
wrapt  in  silent  awe  and  love  for  their  divine  master. 


80 


CATALOGUE 


402.   BOTH,  JAN.  Dutch  School. 

LANDSCAPE. 

This  celebrated  artist  was  born  at  Utrecht  in  1610.  "His  landscapes 
exhibit  the  most  beautiful  scenery,  his  color  is  glowing  yet  delicate,  and 
there  is  a  sparkling  effect  of  sunshine  in  his  pictures,  that  has  scarcely 
been  equalled."  He  died  in  his  native  place  in  1650,  at  the  early  age  of  forty. 


403.  HELST,  B.  VAN  DER.  (after) 

AWARDING  ARCHERY  PRIZES. 

1612—1670. 

404.  PRIMATICCIO,  FRANCESCO. 

Bolognese  School. 

PERSEUS  AND  ANDROMEDA. 

Andromeda,  the  daughter  of  Cepheus,  King  of  Ethiopia,  was  doomed  to  be 
exposed  to  a  sea  monster,  because  her  mother  Cassiope  had  boasted  herself 
fairer  than  the  Nereides.  She  was  chained  to  a  rock  on  the  sea  shore,  where 
Perseus  beheld  her,  as  he  traversed  the  air  on  the  winged  horse  Bellerophon 
on  his  return  from  the  conquest  of  the  Gorgons. 

"  Chained  to  a  rock  she  stood,  young  Perseus  stayed 
His  rapid  flight  to  view  the  beauteous  maid ; 
So  sweet  her  frame,  so  exquisitely  fine, 
She  seemed  a  statue  by  a  hand  divine, 
Had  not  the  wind  her  waving  tresses  showed, 
And  down  her  cheek  the  melting  sorrows  flowed." 

Francesco  Primaticcio,  the  scion  of  a  noble  house,  was  born  at  Bologna  in 
(  1490.  He  was  successively  the  scholar  of  Innocenzo  da  Imola,  11  Bagnaca- 
vallo,  and  of  Giulio  Romano ;  with  the  latter  he  spent  six  years.  He  passed 
much  of  his  time  in  France,  where  he  was  a  great  favorite  with  Francis  I. 
On  the  death  of  that  monarch,  he  continued  in  the  service  of  his  successors, 
Henry  II  and  Charles  IX.   Primaticcio  died  at  Paris  in  1570. 


405.   D0UW,  GERARD.  (after) 

THE  DENTIST. 

The  triumphant  air  of  the  operator  who  has  just  succeeded  in  withdraw- 
ing a  most  refractory  "molar,"  forms  a  perfect  contrast  to  the  fear  and 
anxiety  depicted  in  the  countenance  of  the  unhappy  patient.  The  original 
painting  is  in  the  Dresden  Gallery. 


406.  UNKNOWN. 

THE  AMOROUS  HUNTER. 


CROCKER  ART  GALLERY. 


81 


407.    WYCK,  THOMAS.  Duteh  School. 

THE  RETURN  FROM  MARKET. 

1616—1686. 


408.    HOOK,  J.  C. 

FIRST  LESSON  IN  NAVIGATION. 


409.  UNKNOWN. 

GRACE  BEFORE  MEAT. 

A  little,  fair-haired,  curly-headed  child,  standing  upon  a  chair  holding  a 
spoon  in  his  clasped  hands,  is  repeating  after  his  mother,  the  blessing  which 
she  is  asking  upon  their  frugal  repast. 


410.  C ALLOT,  JACQUES,  French  School. 

THE  JUST  DESERT. 

This  celebrated  engraver  and  designer,  the  son  of  noble  parents,  was  born 
at  Nancy  in  1593.  His  love  for  art  caused  him  twice  to  run  away  from  home; 
the  first  time  at  the  age  of  twelve,  when  without  money  or  resources  he 
found  his  way  to  Italy.  His  parents  finally  yielded  to  his  wishes  and  per- 
mitted him  to  visit  Rome,  where  he  studied  under  Giulio  Parigii.  His 
drawings  are  exceedingly  admired,  and  the  number  of  his  plates  is  almost 
incredible,  amounting  to  upwards  of  1500.  Jacques  Callot  died  at  Nancy  in 
1635. 


411.  UNKNOWN. 

THE  FISHERMAN'S  FAREWELL. 

As  he  is  stepping  into  his  boat,  the  fisherman  clasps  his  sweetheart  round 
the  waist  for  a  parting  kiss,  which  seems  to  be  given  and  received  with 
equal  willingness. 


412.    HLLL,  THOMAS.  San  Francisco. 

SUGAR  LOAF  PEAK,  EL  DORADO  COUNTY,  CALIFORNIA. 


413.    BE  BEUL. 

SHEEP. 


Antwerp. 


82 


CATALOGUE 


414.  WENDLER,  F. 

TOURISTS  HOUSED  FROM  THE  RAIN. 

Two  gentlemen  tourists,  possibly  Americans  or  Englishmen  (the  volume 
in  the  hands  of  the  elder,  which  looks  suspiciously  like  a  "Murray,"  points 
to  the  latter  nationality)  have  taken  refuge  from  the  storm  in  the  dwelling 
of  a  peasant.  Their  umbrella  is  spread  out  in  a  corner  to  dry,  and  wraps 
and  satchels  are  lying  on  a  bench,  on  which  one  of  the  gentlemen  is  seated, 
bending  slightly  forwards,  his  hands  resting  on  his  knees,  and  an  amused 
expression  on  his  face.  His  companion,  seated  at  the  table,  book  in  hand 
and  referring  to  the  outspread  map  before  him,  looks  somewhat  puzzled, 
while  the  man  in  apron  and  shirtsleeves,  at  the  head  of  the  table,  holds  up 
his  hand  in  astonishment  at  some  remark  which  has  fallen  from  the  lips  of 
the  travelers.  Opposite  to  him,  a  person  who  from  his  green  hat  and  feather 
may  be  a  forr ester,  is  making  some  whispered  remark  to  his  neighbor  at  the 
expense  of  the  strangers,  who  appear  to  be  objects  of  considera  ble  curiosity 
to  the  good  folk.  Through  the  open  door  we  see  the  rain  still  descending 
with  unabated  vigor. 

415.  FRIEDRICHSEN,  MISS  ERNESTINE. 

Dusseldorf. 

RETURN  OF  THE  POLISH  EXILES. 

A  world  of  pathos  is  expressed  in  Miss  Friedrichson's  remarkably  touch- 
ing and  successful  picture.  Eeturned  from  exile,  their  features  bearing  the 
impress  of  sorrow,  woe  and  suffering,  the  poor  wanderers  once  more  upon 
their  dear-loved  native  soil,  fall  prostrate  in  heartfelt  gratitude  and  humble 
adoration  before  the  first  shrine  they  reach — a  wayside  crucifix.  Mother 
and  child,  young  man  and  old  and  wayworn  pilgrim,  worship  with  clasped 
hands  and  uplifted  eyes,  Him  who  alone  can  understand  the  varied  emotions 
that  agitate  their  breasts. 


416.    WYNANTS,  JOHN  .  Dutch  School 

ATTACKED  ON  THE  HIGHWAY. 

A  landscape,  through  which  winds  a  river,  its  left  bank  quite  thickly 
wooded.  Two  horsemen  riding  along  the  opposite  shore  have  been  surprised 
by  a  party  of  highwaymen,  and  some  heavy  firing  is  going  on. 

John  Wynants,  born  at  Harlem  in  1600,  is  esteemed  one  of  the  most  distin- 
guished landscape  painters  of  his  time,  and  the  academy  which  he  estab- 
lished has  produced  many  of  the  ablest  artists  of  the  Dutch  School.  Little 
is  known  of  his  life,  "his  works,  like  those  of  Philip  Wouverman,  must  form 
his  history."  His  pictures,  which  are  very  valuable  and  of  which  he  painted 
a  large  number,  are  to  be  found  among  all  the  best  collections.  He  died  in 
1670. 


417.    BARY,  E.  Dresden. 

MOSES  PROTECTING  THE  DAUGHTERS  OF  JETHRO. 

Exodus  II,  16  and  17. 


CROCKER  ART  GALLERY. 


83 


418.  PREYER,  R  Dusseldorf. 

THE  INTERRUPTED  PROMENADE. 

This  picture  represents  a  calm  and  dignified  looking  lady,  with  fair  hair 
and  blue  eyes,  standing  in  a  pensive  attitude  at  an  open  window,  through 
which  you  can  see  the  rain  coming  down  in  a  steady  shower.  Over  a  black 
satin  petticoat,  she  wears  a  cloth  train  and  basque  of  the  same  sable  hue, 
trimmed  on  the  shoulders  with  fur.  The  long,  lace- edged  cuff  relieves  the 
dark  sleeve,  and  the  high  rutf  is  admirably  suited  to  her  well-shaped  neck. 
A  fur-trimmed  cloak,  richly  lined  with  yellow  satin,  hangs  over  her  left  arm, 
and  with  the  plumed  hat  and  gloves  lying  on  the  table,  seems  to  indicate 
that  for  once  the  rain  is  slightly  inopportune.  The  lady's  right  hand  rests 
on  the  window  sill,  and  her  sweet  expressive  countenance  is  shown  in  pro- 
file. A  coat  of  arms  in  stained  glass  is  on  the  window,  and  various  heraldio 
designs  ornament  the  wainscoting.  Mr.  Preyer  has  been  remarkably  happy 
in  his  choice  of  costume,  which  in  its  simple  grace  will  wear  well  for  many 
a  day;  and  however  arbitrary  the  changes  which  Dame  Fashion  may  dictate, 
its  wearer  will  always  appear  the  same  elegant,  well-dressed  lady  that  she  is 
to-day. 

419.  WOUVERMAN,  PHILIP.  Dutch  School 

SMITH  SHOEING  A  WHITE  HORSE. 

1620—1668. 

Wouverman  excelled  in  portraying  horses,  and  introduced  them  into  most 
of  his  pictures. 

420.  KERGEL,  L.  Dresden. 

WINTER  LANDSCAPE. 

A  charming  little  bit  of  scenery. 

421.  MUELIG,  MENO.  Dresden. 

MONK  AND  GUARD. 

422.  TENIERS,  DAVID,  The  Younger. 

Flemish  School. 

THE  NEWS  READERS. 

1610—1694. 

423.  WOUVERMAN,  PHILIP.         Dutch  School. 

DEPARTURE  FOR  FALCON  HUNTING. 

1620—1668. 

We  are  here  introduced  to  one  of  the  scenes  which  this  artist  delighted  to 
portray.  A  gay  party  accompanied  by  hounds  and  falcons  are  setting  out 
on  a  hunting  expedition.  Like  all  Wouverman's  compositions,  it  is  full  of 
life  and  dramatic  effect. 


84 


CATALOGUE 


424.    EERELMAN,  0. 


Groningen. 


MOORISH  COURT  OF  THE  PARIS  EXHIBITION  IN  1867. 

The  grouping  in  this  picture  is  very  good,  and  the  different  nationalities 
well  represented.  The  young  lady  in  pink  in  the  foreground,  is.  purchasing 
a  charmed  ring  from  the  Moorish  salesman. 


425.    THULDEN,  THEODORE  VAN. 

Flemish  School 

ST.  MARTIN  DIVIDING  HIS  MANTLE. 


No.  425  illustrates  the  well  known  legend  of  St.  Martin  of  Tours,  touched 
with  pity  for  a  naked  beggar,  on  a  hitter  cold  day  in  the  winter  of  332,  and 
dividing  with  him  all  that  he  had— his  cloak.  The  story  goes  on  to  say,  how 
that  night  in  a  dream,  the  Lord  Jesus  stood  before  him,  wearing  on  His 
shoulders  the  half  mantle  which  Martin  had  given  to  the  beggar. 

Theodore  van  Thulden,  one  of  the  most  distinguished  disciples  of  Rubens, 
was  born  at  Bois-le-Duc  in  1607.  He  executed  several  pictures  for  churches 
and  public  buildings  at  Antwerp,  Bruges,  Mechlin,  and  other  Flemish  cities, 
some  of  which  have  been  mistaken  for  the  works  of  that  master.  The 
Assumption  of  the  Blessed  Virgin,  which  he  painted  for  the  Church  of  the 
Jesuits  at  Bruges,  is  considered  his  finest  work.  The  time  of  his  death 
seems  to  be  somewhat  uncertain,  but  it  is  generally  placed  about  the  year 
1676. 


426.    BRANDEL,  PETER.  German  School. 


Peter  Brandel,  born  at  Prague  in  1660,  possessed  great  readiness  of  inven- 
tion, and  painted  many  excellent  pictures,  especially  for  churches  in  Prague 
and  Breslau.  He  died  at  Kuttenberg  in  1739. 


CHRIST  IN  GETHSEMANE. 


427. 


VENUS,  ALBERT. 


Dresden. 


LANDSCAPE,  THE  CAMPAGNA  NEAR  ROME. 


428. 


UNKNOWN. 


ALLEGORY  OF  DEATH. 


A  grim  and  ghastly  skeleton  dragging  an  unwilling  victim  to  the  edge  of 
a  precipice,  above  which  appears  the  hideous  grinning  form  of  Death  hold- 
ing an  hour-glass. 


CROCKER  ART  GALLERY.  85 


429.    RUYSDAEL,  JACOB.  Dutch  School 

SKETCH. 

This  eminent  landscape  painter  was  born  at  Harlem  about  the  year  1636. 
It  is  not  known  under  whom  he  studied,  hut  it  is  probable  that  he  was  for 
some  time  the  pupil  of  his  friend  and  fellow  townsman  Nicholas  Berghem. 
Ruysdael's  pictures  are  held  in  the  highest  estimation,  and  are  found  in  the 
choicest  collections.  He  died  at  Harlem  in  1681. 


430.   MUHLIG,  MENO.  Dresden. 

THE  COBBLER  TRUMPETING. 


431.    HEMLING,  JOHN.  Flemish  School. 

TRIPTYCH. 

Representing  in  the  centre  the  Nativity,  and  on  the  side  panels  the  Annun- 
ciation and  the  Circumcision. 

John  Hemling  or  Hemmelinck  was  born  at  Damme,  a  small  town  near 
Bruges,  about  the  year  1440.  He  is  said  to  have  studied  under  Roger  of 
Bruges,  and  was  one  of  the  best  artists  of  the  school  of  John  Van  Eyck,  the 
supposed  discoverer  of  oil  painting.  Very  little  is  known  of  his  history; 
according  to  Van  Mander,  he  was  a  man  of  exceedingly  dissolute  character. 
Falling  sick  while  acting  in  the  capacity  of  a  private  soldier,  he  was  received 
into  the  hospital  of  St.  John  at  Bruges.  On  his  restoration  to  health,  he  dis- 
closed his  profession  to  the  brotherhood,  and  out  of  gratitude,  ottered  to 
paint  a  picture  for  their  chapel,  which  is  still  preserved  with  great  care  and 
veneration  in  the  hospital  chapel.  It  is  an  altar  piece,  with  two  folding 
doors.  The  centre  picture  represents  the  Nativity  with  the  Adoration  of 
the  Shepherds;  on  one  of  the  laterals  is  a  group  of  angels  adoring  the  infant 
Jesus  in  the  cradle,  on  the  other  the  Presentation  in  the  Temple.  The  date 
of  Hemling's  death  is  not  certainly  known;  according  te  Nieuwenhuys,  he 
was  living  in  1499. 


432.    VINCI,  LEONARDO  DA.     Florentine  School. 

ECCE  HOMO. 

This  illustrious  artist  was  born  in  the  Val  d'Arno  in  1452,  and  evinced 
even  in  childhood  a  decided  taste  for  the  fine  arts.  Placed  by  his  father 
under  the  guidance  of  Andrea  Verrochio,  he  soon  eclipsed  that  master, 
and  his  talents  rapidly  attracted  the  attention  of  the  Florentine  pubiic. 
Leonardo's  studies  had  not  been  confined  to  painting;  he  was  an  able 
sculptor  and  architect  and  an  accomplished  poet  and  musician.  Joined 
to  such  vigor  of  intellect,  was  an  elegance  of  feature  and  grace  of  manner 
which  made  him  beloved  by  all,  and  soon  spread  his  fame  through  Italy. 
His  most  famous  work  is  his  "Last  Supper,"  painted  for  the  refectory  of  the 
Dominican  Convent  of  S.  Maria  delle  Grazie  at  Milan,  "a  performance 


86 


CATALOGUE 


which  history  ranks  amongst  the  most  admirable  productions  of  the  art." 
Leonardo  da  Vinci  expired  at  Fontainebleau  on  the  2d  of  May,  1519,  aged  67 
years. 


433.    GAISER,  F. 

THE  HAPPY  MOTHER. 


434.    SCHAUMANN,  H. 

CIRCUS  LIFE. 


435.   JONES,  C. 

SHEEP  IN  WINTER  ON  THE  SCOTTISH  HILLS. 


436.  DE  VOS.  Brussels. 

ONE  OF  OUR  FIRST  MUSICIANS. 

A  monkey  attired  in  a  braided  coat,  is  seated  before  a  music  stand  with 
notes  playing  the  violin. 

437.  POUSSIN,  GASPAR  DUGHET. 

Roman  School 

LANDSCAPE. 

Gaspar  Dughet  was  born  at  Rome  in  1613.  On  his  sister's  marriage  with 
Nicolo  Poussin,  Gaspar  acquired  the  patronymic  of  his  brother-in-law,  under 
whose  tuition  he  became  an  eminent  and  almost  unsurpassed  landscape' 
painter.  His  pictures  principally  represent  the  most  enchanting  views  in 
the  vicinity  of  Rome,  Tivoli  and  Frascati,  but  he  has  also  composed  many 
ideal  landscapes.   He  died  at  Rome  in  1675. 


438.   BOUDEWYNS  and  BOUT.      Flemish  School. 

SMALL  LANDSCAPE  WITH  FIGURES. 

N.  Boudewyns  and  Francis  Bout,  natives  of  Brussels,  flourished  about  the 
year  1700.  These  artists  painted  almost  entirely  in  concert,  the  landscapes 
by  Boudewyns  being  decorat8d  with  figures  by  Bout.  Their  joint  produc- 
tions are  highly  esteemed  in  Flanders  and  England,  where  some  of  their 
best  works  are  to  be  found. 


CROCKER  ART  GALLERY. 


87 


439.   BOUDEWYNS  and  BOUT.     Flemish  School. 

SMALL  LANDSCAPE  WITH  FIGURES. 


440.  MURILLO.      ( manner  of)    Spanish  School 

MADONNA  AND  CHILD. 

441.  MURILLO,  BARTHOLOME  ESTEBAN. 

Spanish  School. 

MENDICANTS  THROWING  DICE. 

1618—1685. 

442.  ROUX,  CH.  Munich. 

THE  BOTANIST  IN  DANGER. 

443.  SCHMIDT,  AD.  Munich. 

THE  SUNDAY  RIDERS. 

A  winter  scene.  The  unlucky  youths  are  evidently  novices  in  the  noble 
art  of  horsemanship,  and  their  ride  bids  fair  to  eclipse  that  of  the  world 
renowned  J  ohn  Gilpin. 

444.  FISCHER,  ERNST.  Dresden. 

THE  MID-DAY  SLUMBERS. 

The  sitting  room  of  a  German  family  of  the  middle  class.  The  birds  and 
flowers  in  the  window,  and  the  ivy  trained  along  the  wall,  impart  an  air  of 
refinement  to  the  simple  apartment.  Grandmother  sits  with  the  inevitable 
knitting  in  her  hand,  the  afternoon  coffee  is  just  being  brought  in,  and  two 
little  ones  hasten  to  waken  grandpa  from  his  slumbers  in  the  easy  chair,  one 
offering  him  the  newspaper,  and  the  other  his  pipe  and  tobacco  pouch. 

445.  REMBRANDT  VAN  RHYN.  (after) 

REMBRANDT'S  DAUGHTER. 


Numerous  prints  have  made  the  fair  face  of  Rembrandt's  daughter  famil- 
iar to  all.  The  original  is  in  the  Dresden  Gallery. 


88  CATALOGUE 


446.    RUBENS,  PETER  PAUL.       Flemish  School 

ASSUMPTION  OF  THE  VIRGIN  MARY. 

1577—1640. 

Surrounded  and  borne  upward  by  angels  and  cherubim,  the  Holy  Virgin  is 
seen  ascending  to  Heaven.  Her  golden  hair  floats  on  her  shoulders  and  her 
white  robe  gently  swells  in  the  breeze,  while  a  mantle  of  blue  gracefully 
falls  from  her  left  shoulder.  As  with  outstretched  arms,  and  eyes  raised 
towards  the  abode  of  her  Eternal  Son,  she  disappears  from  their  sight,  most 
of  the  wondering  awe-struck  company  of  believers  fall  upon  their  knees. 


447.  REM,  GUIDO.  (after) 

LUCRETIA. 

An  excellent  copy  of  the  well-known  Lucretia  stabbing  herself.  She  has 
the  upturned  look  which  Guido  loved  to  give,  especially  to  his  female  heads. 

448.  RENI,  GUIDO.  (after) 

CLEOPATRA. 

This  lovely  picture  gives  all  the  pathos  of  Cleopatra's  closing  scene. 

"  A  noxious  worm 
Fed  on  those  blue  and  wandering  veins  that  lac'd 
Her  rising  bosom  ;  ay  did  sleep  upon 
The  pillow  of  Antony,  and  left  behind, 
In  dark  requital  for  its  banquet— death." 


449.    RYCKAERT,  DA  VID.  Flemish  School. 

BEER  HOUSE  SCENE. 

This  artist  was  born  at  Antwerp  in  1615,  and  received  his  first  art  instruc- 
tion from  his  father,  who  was  considered  the  ablest  landscape  painter  of  his 
time.  Young  Ityckaert  soon  rose  to  distinction  and  enjoyed  the  special 
favor  of  Archduke  Leopold,  who  appointed  him  in  1651  Director  of  the 
Academy  at  Antwerp.  He  usually  painted  peasant  festivities,  musical 
parties  or  the  interiors  of  chemists'  laboratories.  David  Kyckaert's  pictures 
are  not  often  met  with  out  of  Belgium,  where  they  are  to  be  found  in  the 
best  collections.  He  died  in  1677. 


450.   CROCKER,  MISS  KATIE.      ■  Sacramento.. 

MAGDALENA.  (copy) 

Her  luxuriant  hair  falling  over  her  shoulders,  and  her  right  hand  resting 
upon  her  bosom,  the  Magdalen  gazes  upward  with  a  look  of  infinite  peni- 
tence and  devotion. 


CROCKER  ART  GALLERY. 


89 


451.    HUTIN,  CHARLES.        '       French  School 

PORTRAIT  OF  AN  OLD  LADY. 

This  artist  flourished  at  Paris  about  the  year  1760. 


452.   MIERIS,  FRANCIS,  The  Elder. 

Dutch  School. 

TAVERN  SCENE. 

This  artist,  the  son  of  a  goldsmith,  was  horn  at  Leyden  in  1635.  Ambitious 
of  imitating  the  style  of  Gerard  Douw,  he  entered  his  stiulio,  and  soon 
became  not  only  the  ablest  of  his  disciples,  but  is  even  considered  by  many 
the  superior  of  that  master.  His  works  are  exceedingly  rare.  He  died  in 
1681. 


453.  UNKNOWN. 

HESSIAN  COUNTRY  BLACKSMITH  SHOP. 


454.  REMBRANDT  VAN  RHYN 

JUDITH  AND  HOLOFERNES. 

Judith  stands  sword  in  hand,  preparing  to  slay  Holofernes,  who  is  lying 
upon  his  couch  in  a  drunken  sleep.  Behind  her  appears  the  kneeling  figure 
of  an  old  woman. 

Kembrandt  Van  TChyn,  born  in  1606,  was  the  son  of  a  miller  of  Leyden,  and 
"  from  the  dark  interior  of  his  father's  mill,  partially  lighted  from  above,  in 
which  lie  passed  his  infancy  and  boyhood,  he  is  supposed  to  have  caught 
the  first  idea  of  those  strong  contrasts  of  light  and  shadow,  which  he  carried 
to  such  perfection  in  his  art." 

455.  LEU,  SIR  PETER.  German  School. 

PORTRAIT. 

Thr-ee  quarter  length  portrait  of  a  man  with  dark  flowing  hair,  attired  in 
a  black  robe  and  deep  white  collar. 

This  eminent  portrait  painter  was  born  in  Westphalia  in  1617.  On  the 
death  of  Van  Dyck  in  1640,  he  determined  to  visit  England,  where  he  soon 
acquired  high  favor  and  distinction.  Through  William,  Prince  of  Orange, 
.he  was  introduced  to  t*he  notice  of  Charles  I,  whose  portrait  he  painted,  as 
well  as  those  of  the  Prince  ahd  Princess  of  Orange.  Through  all  the  tragical 
events  that  followed,  Sir  Peter  Lely  remained  in  England,  his  fame  unim- 
paired. Cromwell  sat  to  him,  and  after  the  Restoration,  he  had  the  honor 
of  painting  King  Charles  II,  by  whom  he  was  knighted.  Sir  Peter  died  in 
1680  and  was  buried  in  Covent  Garden,  where  a  monument  with  his  bust  by 
Gibbon,  is  erected  to  his  memory 


90  CATALOGUE 


456.  CAN ALETTO;  ANTONIO.       Venitian  School 

S.  MARCO  PIAZZA,  VENICE. 

That  few  cities  are  better  known  to  the  public  than  the  "  Queen  of  the 
Adriatic,"  is  principally  due  to  the  brush  of  Canaletto,  who  has  painted 
numerous  scenes  on  her  canals  and  lagunes.  A  complete  work,  consisting 
of  his  views  in  Venice>  was  published  in  that  city  in  1742.  Canaletto  was 
born  in  Venice  in  1697  and  died  in  1768. 


457.  CARACCI.      (School  of) 

VENUS  AND  CUPID. 

458.  JUNKER,  W.  Dresden. 

PORTRAIT— FRAULEIN  ULRICH 
Of  the  King's  Opera  House  in  Dresden. 

459.  DOUW,  GERARD.  (after) 

THE  SCHOOLMASTER. 

Candle  and  lamplight  effect. 

460.  UNKNOWN.  Flemish  School. 

TRIUMPH  OF  BACCHUS. 

461.  MIEL,  JOHN  *      Flemish  School. 

HALT  BEFORE  THE  INN. 

This  artist  was  born  in  1599  in  the  vicinity  of  Antwerp.  The  scholar  and 
able  disciple  of  Gerard  Seghers,  he  left  that  master  to  pursue  his  studies  In 
Rome  at  the  Academy  of  Andrea  Sacchi.  His  best  performances  are  his 
easel  pictures,  representing  fairs,  huntings,  markets,  and  carnival  festivi- 
ties. He  was  a  favorite  of  Charles  Emanuel,  Duke  of  Savoy,  who  invited 
him  to  the  Court  of  Turin,  and  conferred  upon  him  the  order  of  the  Knight- 
hood of  St.  Maurice.  He  died  in  1664. 


462.   MEISSNER,  E.  Dresden. 

THE  IRATE  BULL. 


CROCKER  ART  GALLERY.  91 


463.  UNKNOWN. 

ALLEGORY. 

464.  WERKMEISTER,  MATTE.  Munich. 

THE  SHIPWRECK. 

A  wreck.  Near  it,  three  vessels  arc  struggling  in  a  stormy  sea  off  a  rocky- 
coast.   Overhead  an  angry  sky. 

465.  LELY,  SIR  PETER. 

1617—1680. 

PORTRAIT  OF  A  LADY. 

466.  DOMENICHINO,  IL.  Bolognese  School. 

ORIENTAL  LADY. 

Beautiful  head  of  a  lady  wearing  a  turban. 

Domenico  Zampieri,  called  II  Domenichino,  was  born  at  Bologna,  in  1581. 
He  was  a  fellow  student  of  Guido  and  Albano  in  the  Academy  of  the  Caracci, 
where  he  soon  distinguished  himself  greatly.  Together  with  Albano,  he 
afterwards  visited  Parma,  Modena  and  Reggio,  to  study  the  works  of  Cor- 
eggio  and  Parmegiano;  and  on  their  return  they  both  finally  settled  in 
Rome.  Domenichino's  Communion  of  St.  Jerome,  painted  for  the  principal 
altar  of  S.  Girolamo  della  Carita,  was  considered  the  finest  picture  at  Rome, 
after  the  Transfiguration,  by  Raffaelle.   He  died  in  1641. 

467.  HOLBEIN,  HANS.  German  School. 

This  distinguished  painter,  engraver  and  designer,  is  generally  said  to 
have  been  born  at  Basle,  in  1498,  although,  according  to  others,  he  is  a  native 
of  Augsburg.  However  this  may  be,  young  Holbein  passed  his  youth  in  the 
former  place.  In  1526  he  visited  England,  where  he  was  received  with  the 
greatest  kindness  by  Sir  Thomas  More,  through  whose  influence  he  was 
introduced  to  the  notice  of  King  Henry  VIII,  who  took  him  into  great  favor, 
and  appointed  him  painter  to  the  Court,  with  apartments  in  the  palace  and 
a  liberal  salary.  His  works  are  very  numerous ;  the  greatest  and  best  are  in 
England,  where  he  executed  them.  He  died  of  the  plague,  in  London, 
in  1554. 

468.  TITIAN,  VECELLL  (after) 

JUPITER  AND  ANTIOPE. 

"A  luscious  and  graceful  representation  of  the  well  known  classical  story 
of  the  love  of  Jupiter  and  Antiope." 
The  original  is  in  the  Royal  Pinakothek  at  Munich. 


92 


CATALOGUE 


469.    HESS,  PETER  VON.  (after) 

"  Represents  a  Calabrian  brigand  driven  to  his  last  hold  among  the  ruins  of 
an  ancient  Roman  fortress,  which  he  is  preparing  to  defend  to  the  last 
extremity.  His  wife,  with  a  child  in  her  arms,  kneels  beside  him,  appar- 
ently endeavoring  to  persuade  him  to  abandon  his  useless  resistance,  while 
another  woman  is  hastily  packing  up  some  articles  of  plunder."  The  original 
is  in  the  collection  at  Sch.leissb.eim. 

Peter  von  Hess  was  born  at  Dusseldorf,  in  1792,  of  a  family  of  artists.  He 
acquired  the  soubriquet  of  the  "Horace  Vernet  of  Central  Germany,"  from 
his  numerous  battle  pieces,  and  his  name  is  familiar  to  all  who  are  acquainted 
with  modern  German  art.  He  died  at  Munich  the  4th  of  April,  1871. 


470.    REM,  GUIDO.  Bolognese  School. 

1575-1642. 

EGYPTIAN  MAGDALENE. 


471.    BEERESTRATEN,  J.  VAN.      Dutch  School. 

SKATING  SCENE  IN  HOLLAND. 


472.    BERGHEM,  NICHOLAS.         Dutch  School, 

1624—1683. 

CATTLE  PIECE. 


473.    HAZER,  G. 

THE  COBBLER. 

Interior  of  a  cobbler's  workshop.  The  follower  of  St.  Crispin  is  looking 
down,  with  a  good  humored  smile,  at  a  very  small  child,  carrying  a  pair  of 
tattered  top-boots,  almost  as  large  and  heavy  as  herself. 


474.    GRUNENWALD,  J.  Munich. 

MATERNAL  TROUBLE. 

Two  children  are  watching  a  poor  hen,  who  is  anxiously  trying  to  restrain 
her  foster  children,  the  ducklings,  from  hurrying  with  such  alarming  reck- 
lessness into  the  water.  • 


CROCKER  ART  GALLERY.  93 


475.  CARACCI,  AGOSTINO.       Bolognese  School 

THE  PARALYTIC. 

1558—1601. 

476.  DE  YONGE,  J.  M.  Dutch  School. 

CAVALRY  FIGHT. 

477.  DU  JARDIN.  Dutch  School 

PEASANTS  AND  CATTLE. 

1635-1678. 

478.  MUHLIG,  MENO.  Dresden. 

THE  DICE  THROWERS. 

479.  MUHLIG,  MENO.  Dresden. 

SOLDIERS  IN  QUARTERS. 

480.  ARNOUX.  Paris. 

THE  YOUNG  HOUSEKEEPER. 

A  little  peasant  girl  in  a  close  fitting  cap,  is  seated  on  a  low  chair  in  front 
of  the  hearth,  putting  the  cover  on  the  soup  pot.  In  her  left  hand  she  holds 
a  ladle. 


481.  ROBBE.  Brussels. 

GOATS  AND  SHEEP. 

482.  BOUCHER,  FRANCOIS.         French  School 

PORTRAIT  OF  A  COURT  LADY. 

This  artist,  born  at  Paris  in  1714,  was  the  scholar  of  Francois  Le  Moine. 
Appointed  to  the  position  of  first  painter  to  the  King,  and  flattered  and 


94 

CATALOGUE 

favored  by  the  great,  Boucher  was  the  most  admired  artist  of  the  day 
among  the  Parisians.   "Yet  perhaps  it  would  he  difficult  to  select  one  who 
enjoyed  these  advantages  with  less  real  pretention  to  admiration,  or  less 
legitimate  claim  to  distinction."   He  died  in  1768. 

•  483. 

BREMOND,  JEAN.  .  Paris. 

LEDA  AND  THE  SWAN. 
• 

484. 

CARACCI,  ANNIBALE.       Bolognese  School 

1560-1609. 

MADONNA  AND  CHILD. 

The  Virgin,  in  scarlet  robe  and  blue  mantle,  with  white  di'apery  falling 
over  her  head  and  left  shoulder,  is  looking  down  on  the  Infant  Savior, 
whom  she  is  nursing  at  her  breast.    The  child's  left  hand  rests  on  the 
mother's  bosom;  in  his  right  hand  he  holds  an  apple.    A  part  of  St.  John's 
head  appears  to  the  right. 

485. 

UNKNOWN. 

STUDY. 

486. 

ENGELS. 

RETURN  OF  THE  MONK.  " 

487. 

IE  SUE. 

JACOB  WRESTLING  WITH  THE  ANGEL. 

488. 

KEITH,  WILLIAM.               San  Francisco. 

LANDSCAPE. 

489. 

ROUX,  CHARLES.  Munich. 

THE  IRATE  BULL. 

Nothing  in  the  world  will  so  soon  break  up  a  party  of  pleasure,  or  cause 
dignified  ladies  and  gentlemen  to  scramble  with  unseemly  haste  over  rocks 
and  fences,  as  the  sudden  appearance  in  their  midst  of  an  angry  bull !  In 
the  present  instance,  three  ladies  and  a  gentleman  have  been  put  to  a  most 
precipitous  flight,  leaving  behind  them  hats,  wraps,  parasols  and  canes,  as 

CROCKER  ART  GALLERY.  95 


well  as  the  red-bound  "  Murray,"  upon,  which  the  infuriated  animal  is  for 
the  moment  venting  his  ire.  It  has  evidently  been  sauve  qui  pent,  and  if 
the  ladies  are  terror  stricken,  the  gentleman  has  lost  all  gallantry,  thus  to 
clamber  with  feverish  h^ste  over  the  stile,  leaving  one  of  his  fair  compan- 
ions to  follow  as  best  she  can,  while  the  young  lady  who  is  already  on  the 
other  side,  is  having  a  desperate  struggle  with  her  skirt,  a  portion  of  which 
has  adhered  to  the  rough  fence,  and  is  now  resisting  her  most  desperate 
efforts  to  tear  it  away. 


490.   BRENDEL,  A.  Munich. 

SHEEP  STABLE. 


491.    TINTORETTO,  11.  Venitian  School. 

LOT  AND  HIS  DAUGHTERS. 

1512—1594. 

Lot  is  reclining  on  the  ground,  his  right 'arm  encircling  the  waist  of  one 
daughter,  who  is  seated  by  his  side,  and  his  left  hand  is  outstretched  to 
receive  a  cup  of  wine  from  the  other  and  fairer  daughter,  who  is  in  the  act 
of  pouring  out  this  refreshment  for  her  father.  In  the  distance  is  seen  the 
burning  city  of  Zoar. 


492.    GEORGI,  OTTO.  Dresden. 

VIEW  IN  EGYPT. 

On  a  gentle  eminence  are  the  magnificent  pillared  remains  of  a  temple, 
and  feathery  palm  trees  raising  their  proud  heads  to  a  glorious  Egyptian 
sky.  Directly  underneath,  a  barge  is  moored  close  to  the  shore.  Not  a 
breath  seems  to  be  stirring,  and  there  is  only  the  faintest  ripple  on  the  sur- 
face of  the  water. 


493.  LASSIG. 

LANDSCAPE  NEAR  SALZBURG. 


494.    FALCIATORE,  PHILIPPO. 

ATTACKED  BY  HIGHWAYMEN. 


495.   CANALETTO.  (after) 

VIEW  IN  VENICE. 


96  CATALOGUE. 

496.    MERLE,  HUGUES.  (after) 

THE  MENDICANT. 

A  most  excellent  copy  by  Barnoin,  of  Hugues  Merle's  beautiful  and  touch- 
ing picture,  which  adorns  the  walls  of  the  Luxembourg.    The  expression  of 
attitude  and  features  is  one  of  exquisite  pathos.    A  feeling  of  infinite  pity 
unconsciously  steals  over  one  as  he  gazes,  and  even  the  coldest  nature  can 
scarcely  look  unmoved  upon  the  friendless  "  Mendicant." 

4Q7     MJJTTFNTTJ  AT  FP  A 

trc/  /  .       Ill  U  1  1  Jun  1  IIxxJuIjIL,  XX, 

Wfuni  p\\ 
IrlUiLI/L/fl. 

dQR     PFMRPANDT  VAN  RHYN 

(  aj  let  j 

THE  ASTROLOGER. 

499.    REMBRANDT  VAN  RHYN. 

(after) 

PORTRAIT. 

Small  oval  portrait  of  a  man  in  a  plumed  hat. 

500.    OSTADE,  ADRIAN  VAN. 

Dutch  School. 

INN  SCENE. 

1610—1685. 

501.    REMBRANDT  VAN  RHYN. 

(after) 

PORTRAIT. 

A  peasant,  rather  past  middle  age,  in  red  cap  and  vest. 

502.    MURILLO,  BART0L0ME  ESTEBAN.  (after) 

BOYS  EATING  GRAPES  AND  WATERMELONS. 

503.   DE  VRIES,  JOHN  RENIER. 

Dutch  School. 

LANDSCAPE  AND  CHURCH  RUINS. 

Marked  1643. 

This  landscape  painter  is  generally  supposed  to  have  been  a  pupil  of  Jacob 
lluysdael,  whose  style  he  followed  very  closely.   He  nourished  in  the  latter 
part  of  the  seventeenth  century. 

CROCKER  ART  GALLERY.  97 


504.   HONDEKOETER,  MELCHIOR.  Dutch  School. 

1636—1695. 

STILL  LIFE. 


505.   MIREVELT,  M.  JANSEN.        Dutch  School 

PORTRAIT. 

Marked  1615.   Half  length  figure  of  a  Dutch  nobleman. 

This  eminent  painter  was  born  at  Delft,  in  1568.  His  father— a  goldsmith- 
perceiving  his  son's  early  love  for  art,  placed  him  with  Jerome  Wierix, 
intending  him  to  follow  that  master's  profession  of  engraver.  Some  of  his 
juvenile  performances,  however,  happening  to  attract  the  notice  of  Anthony 
de  Montfort,  called  Blocklandt,  he  persuaded  young  Mirevelt  to  turn  his 
attention  to  painting,  and  oflered  to  receive  him  into  his  school.  For 
several  years  he  devoted  himself  to  the  study  of  historical  painting  under 
that  master,  and  his  first  productions  on  leaving  Blocklandt  were  altar 
pieces  for  some  churches  at  Delft;  but  having  executed  the  portraits  of  some 
of  the  Nassau  princes,  these  pictures  met  with  such  admiration,  that  he 
decided  to  confine  himself  exclusively  to  that  branch  of  his  art,  in  which  he 
speedily  rose  to  the  greatest  celebrity  and  distinction.  He  was  invited  by 
Charles  I  to  England  in  1625,  but  kept  away  for  fear  of  the  plague,  which  was 
then  raging  in  London.   He  died  in  1641. 


506.   MIREVELT,  M.  JANSEN.        Dutch  School. 

1568—1641. 

PORTRAIT  OF  LADY  OF  RANK. 


507.  UNKNOWN. 

THE  SPORTSMAN'S  RETURN. 


508.  BENDEMANN. 

STILL  LIFE. 

A  bunch  of  flowers  in  a  glass  stand  upon  a  bracket,  close  to  a  bird's  nest 
containing  three  eggs.  A  little  feather  and  an  ear  of  wheat  lie  carelessly 
near ;  and  some  papers,  a  penknife,  and  a  quill  pen,  are  thrust  negligently 
into  a  letter  rack  behind  the  bracket. 


509.   KEITH,  WM.  San  Francisco. 

MOUNT  TAMALPAIS,  CALIFORNIA. 

7 


98 


CATALOGUE 


510.    FRIEDRICH,  A. 


SAXON  FARM  YARD. 

An  admirable  and  exceedingly  life-like  composition. 


Dresden. 


511.    MULLER,  MORITZ. 


AT  HOME. 


Munich. 


Interior  of  a  Tyrolese  cabin.  The  huntsman  and  his  young  wife  are  seated 
at  a  small  table,  the  latter  playing  upon  the  zithern  for  her  husband's  amuse- 
ment. 


512.    MULLER,  MORITZ.  Munich. 

RETURNING  HOME. 

Pendant  to  the  foregoing.  The  wife  is  seated,  making  a  wreath  of  flowers, 
while  she  watches  the  cooking  of  something  upon  the  hearth.  The  entrance 
of  the  dog,  announcing  his  master's  return,  has  caused  her  to  turn  with  an 
expectant  air  towards  the  open  door,  through  which  we  see  the  huntsman 
approaching  his  cottage. 


513.    VAN  HAMME,  A.  Brussels. 

THE  FAIR  MUSICIAN. 

A  gentleman,  whose  blue  ribbon  and  order  proclaim  him  to  be  a  noble,'is 
seated  on  a  couch,  listening  to  the  sweet  sounds  evoked  from  a  guitar  by  the 
fair  lady  standing  before  him.  Her  rich  attire— black,  over  a  white  satin 
petticoat,  bordered  with  gold  brocade— announces  her  also  to  be  of  high 
rank.  She  is  probably  a  court  beauty,  and  the  gentleman's  wife.  The  rich 
aumoniere,  which  depends  from  her  side,  is  fastened  round  her  waist  by  a 
string  of  pearls,  and  the  same  jewels  adorn  her  lovely  neck  and  ears.  Her 
face  is  shown  in  profile,  and  pearls  are  twined  among  her  sunny  golden  hair, 
which  is  drawn  back  in  severe  simplicity,  and  arranged  in  a  knot  at  the 
back  of  her  head. 


514.   KERKHOVE,  VAN  DER.       Flemish  School 

ARTIST'S  SURPRISE  PARTY. 

Joseph  Van  der  Kerkhove,  born  at  Bruges,  in  1669,  studied  at  Antwerp 
under  Erasmus  Quellinus,  the  younger.  On  leaving  that  master's  studio,  he 
set  out  for  Italy;  but  on  his  way  through  France,  he  met  with  so  much 
encouragement  in  Paris,  that,  abandoning  his  original  project,  he  decided 
to  remain  in  the  latter  city.  After  severaly  ears  residence  there,  he  returned 
to  Bruges,  where  he  received  more  commissions  than  he  could  execute.  His 
principal  work  is  a  series  of  fifteen  pictures  of  the  Life  of  our  Savior,  painted 
for  the  Church  of  the  Dominicans  at  Bruges.  He  died  in  his  native  city  in 
1714.  The  picture  before  us  was  painted  during  the  artist's  residence  in  Paris. 


CROCKER  ART  GALLERY. 


99 


515.  UNKNOWN. 

THE  BAGPIPE  PLAYER. 


516.    HEINZ,  J.  (after) 

LOT  AND  HIS  DAUGHTERS. 

Original  in  the  Dresden  Gallery. 


517.  UNKNOWN. 

MOTHER  AND  CHILDREN  CAUGHT  IN  A  STORM. 


518.  UNKNOWN. 

PEASANTS  ADMIRING  A  FOUNTAIN. 


519.    GENNARI,  CESARE.  Bolognese  School 

MAGDALENE. 

The  favorite  saint  is  represented  under  the  shadow  of  an  overhanging  rock, 
her  right  elbow  leaning  on  a  sort  of  stone  table,  on  which  a  skull  lies  upon 
an- open  book.  Her  wealth  of  golden  hair  falls  in  wavy  masses  far  below  her 
waist.  An  admirably  arranged  drapery  of  rich  scarlet,  is  thrown  carelessly 
over  her  right  shoulder,  leaving  the  left  side  of  her  body  uncovered.  Her 
hands  are  clasped,  and  she  is  gazing  with  uplifted,  tearful  eyes  to  Heaven. 

"  Blessed,  yet  sinful  one,  and  broken  hearted  ! 
The  crowd  are  pointing  at  the  thing  forlorn, 
In  wonder  and  in  scorn ! 
Thou  weepest  days  of  innocence  departed  ; 
Thou  weepe9t,  and  thy  tears  have  power  to  move 
The  Lord  to  pity  and  love. 

"  The  greatest  of  thy  follies  is  forgiven, 
Even  for  the  least  of  all  the  tears  that  shine 

On  that  pale  cheek  of  thine. 
Thou  didst  kneel  down  to  Him  who  came  from  Heaven, 
Evil  and  ignorant,  and  thou  shalt  rise 

Holy,  and  pure,  and  wise." 

Cesare  Gennari,  the  nephew  and  scholar  of  Guercino,  was  born  at  Cento, 
in  1641,  and  died  in  1688. 


520.    CARAVAGGIO,  11.  Lombardese  School, 

1569—1609. 

CHRIST  BEFORE  PONTIUS  PILATE. 


100  CATALOGUE 


521.    VAN  OER,  THEOBALD.  Dresden. 

DISPLAY  OF  THE   MADONNA  DE  SAN  SISTO  AT  THE 
SAXON  COURT. 


522.   ACHENBACH,  ANDREAS.  Dusseldorf. 

NORWEGIAN  COAST  BY  MOONLIGHT. 

This  exquisite  little  picture  presents"  a  fine  specimen  of  wave  painting. 
The  moon,  shining  through  a  rift  in  the  dark  sky,  illumines  the  northern 
landscape,  and  the  red  gleam  from  the  lighthouse  on  the  cliff  is  reflected 
upon  the  rocks  below. 

Andreas  Achenbach  was  born  at  Hesse  Cassel,  in  1815.  In  1827  he  became  a 
pupil  of  Sehirmer,  the  Professor  of  Landscape  at  the  Dusseldorf  Academy, 
and  acquired  in  a  few  years  a  high  rank  as  an  architectural  landscape 
painter.  "  A  coasting  voyage  which  he  made  with  his  father  in  1832  and  1833, 
by  way  of  Rotterdam,  Scheveningen  and  Amsterdam,  to  Hamburg,  and 
thence  to  Riga,  opened  new  fields  for  the  exercise  of  his  pencil  in  the  grand 
wildness  and  magnificent  surging  of  the  Northern  Sea,  his  acquaintance 
with  which  he  two  years  afterwards  matured  and  extended  by  an  expedition 
to  Denmark,  Norway  and  Sweden."  He  subsequently  traveled  in  the  Tyrol, 
and  in  1843  went  to  Italy,  where  he  remained  two  years.  "His  pictux*es  are 
characterized  by  the  charm  of  never  ending  variety,  grand  mountain  passes, 
and  lovely  home  idylls,  the  solitary  fiord,  forest  lands,  waterfalls,  and 
marine  views  with  shipping,  all  seen  under  diverse  aspects  of  season— some 
by  day,  others  by  moonlight.  To  sum  up,  the  tendency  of  Achenbach's 
genius  is  realistic  in  the  highest  and  best  sense  of  the  word."  Foremost 
among  his  scholars  are  his  brother  Oswald  and  A.  Flamm.  Andreas  Achen- 
bach obtained  the  great  gold  medals  of  Belgium  and  Prussia,  and  the  small 
one  of  France.  He  is  also  Knight  of  the  Belgian  Order  of  Leopold,  and  a 
member  of  the  Academies  of  Berlin,  Amsterdam  and  Antwerp. 


523.    GEBLER,  E. 

GIRL  FEEDING  SHEEP. 


524.   KERGEL,  L.  Dresden. 

WINTER  LANDSCAPE. 


525.    COLLAERT,  ADRIAN.  Flemish  School. 

DAVID  PLAYING  THE  HARP  BEFORE  SAUL. 

This  artist,  noted  especially  as  an  engraver  and  designer,  flourished  in 
Flanders  about  the  middle  of  the  sixteenth  century. 


CROCKER  ART  GALLERY. 


101 


526.    HEINE,  F. 

SHEPHERD  WITH  SHEEP. 

This  picture  illustrates  a  peaceful  shepherd's  life.  The  old  man,  leading 
his  dog  and  walking  in  the  midst  of  his  herd,  seems  to  say  with  Corin :  "  Sir, 
I  am  a  true  laborer ;  I  earn  that  I  eat,  get  that  I  wear,  owe  no  man  hate, 
envy  no  man's  happiness,  glad  of  other  men's  good,  content  with  my  harm ; 
and  the  greatest  of  my  pride  is  to  see  my  ewes  graze  and  my  lambs  suck."— 
[Third  Act  of  "As  You  Like  It." 


527.  REMBRANDT  VAN  RHYN.  (after) 

PORTRAIT. 

528.  TENIERS,  DAVID,  The  Elder. 

Flemish  School. 

1582—1649. 

THE  SURGICAL  OPERATION. 


529.   SCHALKEN,  GODFREY.  (after) 

DUTCH  GIRL  WITH  LIGHT. 


530.    CRANACK,  LUCAS.  German  School 

1472—1553.  - 

ST.  JEROME. 


531.    UNKNOWN  Flemish  School 

THE  MANDOLINE  PLAYER. 

A  woman,  past  youth,  in  rather  bizarre  costume,  is  seated  playing  the  man- 
doline. A  table  before  her  is  covered  with  a  heterogeneous  assortment  of 
articles,  note  books,  shells,  vases,  a  globe,  a  jewel  casket,  various  pieces  of 
jewelry,  strings  of  beads,  medals  and  gold  coins.  On  her  left  side  the  figure 
of  a  boy  is  visible. 


532.    OS,  PIETRO  GERARD  VAN   Dutch  School 

COW  AND  SHEEP. 


Born  at  The  Hague  in  1776,  this  artist  received  his  earliest  instruction 
from  his  father,  Jan  Van  Os,  a  painter  of  fruit,  flowers  and  marine  pieces. 


102  CATALOGUE 


Later,  he  made  the  works  of  Paul  Potter  and  Karel  Pujardin  his  models,  and 
his  pictures  painted  in  the  style  of  these  masters  enrich  the  choicest  collec- 
tions in  Holland.   He  died  at  The  Hague  in  1839.   This  picture  is  dated  1820. 


533.   POTTER,  PAUL.  Dutch  School. 

1625—1654. 

CATTLE  AND  SHEEP. 


534.    ZIMMERMAN,  R.  S.  (after) 

THE  REBUFF. 

The  mustachioed  gallant  is  thoroughly  discomfited  by  the  rebuff,  which 
was  as  severe  as  unexpected.  He  has  been  taught  for  the  first  time  the 
astonishing  lesson  that  a  uniform  is  not  at  all  times  irresistible  to  the  fair 
sex.  The  jauntily  attired  damsel  who  is  returning  from  market,  carrying 
her  well  laden  basket  on  her  arm,  and  a  pair  of  fowls  in  her  hand,  is  the 
picture  of  self  satisfaction,  as  she  steps  proudly  on ;  and  we  may  rest 
assured  that  she  is  perfectly  well  able  to  hold  her  own  in  any  encounter  of 
gallantry. 


535.    PONTE,  GIAC0M0  DA.  (BASSANO.) 

DANCE  OF  CUPIDS. 

Giacomo  da  Ponte.  usually  called  II  Bassano,  was  born  at  Bassano,  in  1510. 
He  first  studied  under  his  father,  Francesco,  who  was  the  founder  of  a 
school  bearing  his  name ;  and  later,  in  Venice,  under  Bonifagio  Veneziani. 
He  is  supposed  by  some  to  have  been  a  pupil  of  Titian,  but  this  is  doubtful, 
although  at  one  time  he  was  a  close  follower  of  that  master's  style.  After 
.acquiring  considerable  celebrity  in  Venice,  his  father's  death  compelled  him 
to  return  to  Bassano,  where  he  spent  the  remainder  of  his  life.  He  painted 
historical  subjects  as  well  as  landscapes  and  portraits,  and  executed  a  mar- 
velous number  of  pictures.  Among  his  greatest  works  may  be  mentioned 
the  Entombing  of  Christ,  in  the  Seminario  of  Padua  ;  the  Nativity,  now  in 
the  Louvre ;  and  his  Sacrifice  of  Noah,  in  the  Santa  Maria  Maggiore  at 
Venice,  which  latter  was  soumch  admired  by  Titian  that  he  desired  to  have 
a  copy  of  it  for  his  own  studio.  Although  the  works  of  Bassano  are  not 
exempt  from  defects,  and  although  they  have  been  severely  criticized,  it  is 
certain  that  they  met  with  the  highest  praise  from  Titian,  Paul  Veronese 
(who  intrusted  to  him  the  instruction  of  his  son),  Tintoretto,  and  Annibale 
Caracci,  who  is  said  to  have  been  so  deceived  by  a  book  which  Bassano  had 
painted  upon  a  table,  that  he  reached  out  his  hand  to  take  it  up. 

Bassano  had  many  pupils,  and  educated  four  of  his  sons  to  his  pi-ofession. 
He  died  in  1592. 


CROCKER  ART  GALLERY.  103 


536.   BESCHEY,  B.  Flemish  School 

GIRLS  PICKING  FLOWERS  FRIGHTENED  BY  A  SNAKE. 

Balthasar  Beschey  was  born  at  Antwerp,  in  1708,  and  was  the  pupil  of  a 
comparatively  unknown  artist,  named  Peter  Strick.  In  1755  he  became  one 
of  the  six  Directors  of  the  Academy  of  his  native  city.   He  died  in  1776. 


537.   RENI9GUID0.  Bolognese  School. 

1575—1642.  K 

ENTOMBMENT  OF  CHRIST. 


538.   MULLER.  (after) 

LITTLE  GIRL  READING. 


539.    TOORNVLIET,  J.  Flemish  School. 

TRIAL  OF  MUTIUS  SCAEVOLA. 

Represents  the  noble  young  Roman  holding  his  right  hand  into  the  names, 
and  allowing  it  slowly  to  consume,  in  order  to  give  a  proof  of  his  firmness  to 
King  Porsenna. 

Jacob  Toomvliet,  born  at  Leyden,  in  1641,  had  already  acquired  some 
reputation  as  a  portrait  painter,  when  in  1670  he  accompanied  his  friend, 
Nicholas  Rosendael,  in  a  journey  to  Italy.  At  Rome,  he  was  so  struck  with 
the  works  of  Raffaelle,  that  he  was  seized  with  the  ambition  of  becoming  a 
painter  of  history.  He  worked  with  the  greatest  enthusiasm  and  assiduity, 
and  visited  Venice  for  the  purpose  of  studying  the  works  of  Titian,  Tinto- 
retto, and  Paul  Veronese.  After  an  absence  of  six  years,  he  returned  to 
Holland,  with  the  most  sanguine  expectations ;  but  his  hopes  were  doomed 
to  disappointment,  for,  although  he  "designed  correctly  and  colored 
sweetly,"  his  talents  were  neither  admired  nor  employed  by  his  country- 
men.  He  died  in  1719. 


540.    CRANACK,  S.  German  School. 

1472—1553. 

ST.  SEBASTIAN. 


541.   HEMSKERK,  EGBERT,  The  Younger. 

Dutch  School. 

PORTRAIT. 

This  artist  was  born  at  Harlem,  in  1645,  and  is  said  to  have  been  a  scholar 
of  Peter  Grebber.  He  painted  scenes  of  drunken  revelry  with  considerable 


104  CATALOGUE 


humor,  and  sometimes  represented  incantations,  spectres,  and  similar  sub- 
jects, with  ready  invention  and  ingenuity.  He  was  well  patronized  in 
England,  and  died  in  London,  in  1704. 


542.   BEERESTRA TEN,  A.  VAN.     Dutch  School. 

A  CASTLE  IN  HOLLAND. 

The  works  of  Beerestraten  are  very  scarce.  Some  of  his  best,  representing 
views  of  Dutch  and  Italian  seaports,  are  in  the  Museum  at  Antwerp  and  the 
Gallery  at  Dresden. 


543.    OSTADE,  ISAAC  VAN  Dutch  School. 

1617—1654. 

TAVERN  SCENE. 


544.    VERNET,  CLAUDE  JOSEPH.    French  School. 

CAIN  AND  ABEL. 

Moonlight  view.   Dated  1750. 

This  celebrated  marine  and  landscape  painter  is  said  to  have  evinced 
already  at  the  tender  age  of  five,  a  decided  talent  for  drawing.  He  received 
his  earliest  instruction  from  his  father,  and  when  eighteen  went  to  Rome, 
where  he  studied  successively  under  Adrian  Manglard  and  Bernardino  Fer- 
gioni.  Years  elapsed  before  this  gifted  artist  found  his  art  remunerative  ; 
and  for  a  time  he  lived  in  such  poverty  that  he  was  glad  to  sell  his  pictures 
at  any  price.  One  which  he  executed  for  a  suit  of  clothes,  fetched  at  an  art 
sale  the  sum  of  5,000  francs.  During  the  twenty  years  which  Vernet  spent  in 
Italy  (a  portion  of  the  time  in  Greece),  he  painted  a  great  variety  of  land- 
scapes and  seaports,  besides  executing  numerous  sketches  of  the  most 
interesting  spots  on  classic  ground.  At  last  his  fame  reached  France,  and 
in  1752  he  was  invited  to  Paris  by  Louis  XV.  The  ship  in  which  he  took 
passage  from  Leghorn  to  Marseilles,  encountered  a  fearful  storm,  which 
struck  terror  to  the  hearts  of  the  passengers ;  but  the  artist,  inspired  by  the 
grandeur  of  the  raging  element,  requested  to  be  bound  to  the  mast,  in  which 
position  he  remained  absorbed  in  admiration  of  the  scene,  which  he  endeav- 
ored to  transfer  to  paper.  A  picture  of  this  scene,  from  the  brush  of  his 
grandson  Horace,  was  exhibited  at  the  Louvre  in  1816. 

In  1743  Vernet  was  chosen  a  member  of  the  Academy  of  St.  Luke.  In  1753 
he  became  a  member,  and  thirteen  years  later  one  of  the  Council,  of  the 
French  Academy.  He  was  occupied  nearly  twelve  years  in  painting  a  series 
of  fifteen  views  of  the  principal  seaports  of  France,  which  are  now  in  the 
Louvre;  and  during  the  last  twenty-five  years  of  his  life  he  executed 
upwards  of  two  hundred  fine  pictures,  most  of  them  from  sketches  made  in 
Italy.  "His  moonlight  effects  are  admirable,  and  likewise  his  representa- 
tions of  water,  particularly  when  agitated  and  boisterous." 

Claude  Joseph  Vernet  was  born  at  Avignon,  in  1714,  and  died  in  1789. 


CROCKER  ART  GALLERY. 


105 


545.  MANSE AU9  A.  Munich. 

THE  ACCOMMODATING  SISTER. 

Represents  a  young  girl  in  white,  seated  in  the  shadow  of  a  tree.  Her  face 
is  seen  in  full,  and  she  looks  rather  wistfully  out  of  her  brown  eyes,  while 
down  the  path  of  the  sun-flecked  glade,  her  sister  and  her  soldier  lover  walk 
together  in  affectionate  proximity. 


546.    NETSCHER,  GASPAR.  Dutch  Sehool. 

LADY  IN  WHITE  SATIN. 

This  painter,  the  son  of  a  sculptor  and  engineer  in  the  Polish  service,  was 
born  at  Heidelberg,  in  1639.  When  Gaspar  was  but  two  years  old,  his  father 
died,  and  the  widow  was  obliged  to  make  her  way  to  Holland,  with  her  three 
children,  the  two  elder  of  whom  perished  of  hunger  on  the  road.  She 
arrived  at  Arnheim  in  the  greatest  destitution  and  misery ;  but  here  she 
fell  among  friends — Tullekins,  an  opulent  physician,  adopting  and  educating 
her  son  as  his  own.  He  was  prepared  for  the  medical  profession,  but  as  he 
manifested  a  decided  talent  for  painting,  his  adopted  father  judged  best  to 
let  him  follow  the  bent  of  his  genius,  and  placed  him  finally  under  the 
guidance  of  Gerard  Terburg,  where  he  made  snch  extraordinary  progress 
that,  in  a  few  years,  the  pupil's  pictures  were  almost  as  highly  esteemed  as 
those  of  his  instructor.  On  leaving  Terburg's  studio,  the  young  artist  em- 
barked from  Amsterdam  to  Bordeaux,  en  route  for  Italy;  but  love  and 
marriage  caused  him  to  change  his  plans,  and  he  returned  with  his  wife  from 
France  to  Holland,  and  settled  permanently  at  The  Hague.  He  painted 
principally  small  portraits  and  conversation  pieces,  "which  are  treated 
with  a  delicacy  of  pencilling  and  a  lustre  of  color,  that  remind  us  of  the 
exquisite  productions  of  Francis  Mieris  and  Terburg.  His  touch  is  spirited, 
yet  mellow ;  and,  like  his  instructor,  he  particularly  excelled  in  painting 
white  satin,  silk  and  ermine,  which  are  represented  with  a  fidelity  approach- 
ing to  illusion."   Netscher  died  at  The  Hague,  in  1684. 


547.    WITTE,  PETER  BE.  Flemish  School. 

GRECIAN  GODS. 

Pieter  de  Wit,  or  Witte,  called  Pietro  Candid o,  a  painter,  sculptor  and 
architect,  was  born  at  Bruges,  in  1548.  After  studying  in  his  native  city  he 
went  to  Italy,  where  he  formed  an  intimacy  with  Giorgio  Vasari,  whom  he 
assisted  in  his  works  at  the  Vatican.  From  Italy  he  repaired,  at  the  invita- 
tion of  Maximilian  I,  Elector  of  Bavaria,  to  Munich,  where  he  spent  the 
remainder  of  his  life.  Under  the  arcade  of  the  Long  Gallery  of  the  Hofgar- 
ten,  in  that  city,  he  painted  a  series  of  frescos,  representing  the  deeds  of 
Otto  von  Wittelsbach,  and  the  Departure  of  the  Emperor  Ludwig  from 
Borne,  in  1327.  Although  these  paintings  are  now  defaced,  the  designs  are 
preserved  in  the  tapestries  worked  from  them,  and  in  the  prints  engraved 
from  the  tapestries  by  Amling.  The  exact  date  of  De  Witte's  death  is  not 
known,  but  it  probably  occurred  about  1620. 


106  CATALOGUE 


548.  BEG  A,  CORNELIUS.  Dutch  School. 

THE  DOCTOR. 

Cornelius  Bega,  the  son  of  a  sculptor,  was  born  at  Harlem,  in  1620.  He  was 
a  pupil  of  Adrian  Van  Ostacle,  and  like  him,  painted  interiors  of  Dutch  cot- 
tages and  scenes  from  peasant  life,  which  he  treated  with  much  humor.  His 
pictures  rank  deservedly  high,  and  are  found  in  the  choicest  collections. 
Bega  died  of  the  plague,  in  1664.  He  caught  the  infection  from  a  young 
person  to  whom  he  was  engaged  to  he  married,  and  to  whom  he  was  fondly 
attached.  Abandoned  by  everyone,  from  the  fear  of  contagion,  the  artist 
alone  could  not  be  induced  to  leave  her,  but  bestowed  upon  her,  until  the 
last,  the  most  devoted  care  and  affection.  This  circumstance  goes  far  to 
show  that,  whatever  truth  there  may  be  in  the  numerous  stories  of  his 
profligacy,  he  was  by  no  means  devoid  of  feelings  of  pure  affection. 


549.  FONT  ANA,  LAVINIA.         Bolognese  School. 

MADONNA  AND  CHILD. 

A  beautiful  picture  by  this  eminent  artist,  the  daughter  and  pupil  of  Pros- 
pero  Fontana.  She  was  born  at  Bologna,  in  1552.  Lauzi  says  that  she  pos- 
sessed Avonderful  sweetness  of  pencilling,  particularly  after  she  had  studied 
the  works  of  the  Caracci,  and  that  some  of  her  portraits  might  have  passed 
for  those  of  Guido.   She  died  at  Rome  in  1614. 


550.    NIEULANT,  ADRIAN  VAN.  Flemish  School. 

ORPHEUS  BEFORE  PLUTO. 

This  artist,  a  native  of  Antwerp,  flourished  in  the  latter  part  of  the 
sixteenth  century.  He  painted  principally  landscapes,  into  which  he  intro- 
duced small  figures  with  considerable  skill.   He  died  probably  about  1601. 


551.    RUYSDAEL,  JACOB.  Dutch  School 

WATERFALL. 

This  artist,  justly  considered  one  of  the  most  eminent  landscape  painters 
of  the  Dutch  School,  was  born  at  Harlem,  about  1636,  and  is  said  to  have 
received  his  earliest  instruction  from  Nicholas  Berghem.  At  an  early  age 
he  showed  an  extraordinary  talent  for  painting,  and  when  twelve  years  old 
he  produced  pictures  which  astonished  the  artists  of  the  day.  "  His  pictures 
generally  represent  the  most  interesting  views  in  the  vicinity  of  Harlem, 
where  he  resided  most  of  his  life,  or  occasionally  the  rocky  borders  of  the 
Rhine,  with  cascades  and  waterfalls,  which  he  treated  in  a  style  so  admira- 
bly picturesque,  that  in  these  last  subjects  he  may  be  said  to  be  unrivalled. 
*  *  *  *  It  is  evident,  in  his  pictures,  that  he  designed  everything  from 
Nature,  and  he  is  uncommonly  happy  in  his  selections.  His  grounds  are 
agreeably  broken,  his  trees  are  of  the  most  pleasing  form,  and  delicately 
handled,  his  skies  are  clear,  with  light  floating  clouds,  and  there  is  an 


CROCKER  ART  GALLERY. 


107 


agi*eeable  freshness  in  his  verdure."  Ruysdael's  pictures  are  very  numerous, 
and  are  most  highly  esteemed.    Smith's  Catalogue  raisonne  contains  a 
descriptive  account  of  448,  and  doubtless  there  are  many  others,  which  did 
not  come  under  his  notice. 
He  died  at  Harlem,  in  1681. 


552.  DAHL,  S.  Florence. 

THE  VICTIM. 

Represents  a  bleeding  stag,  and  a  setter  by  his  side,  apparently  watching 
the  death-struggle. 

553.  SCHUZ,F.  Dresden. 

CANDIDATES  FOR  CONFIRMATION  GOING  TO  CHURCH. 

It  is  Spring-time.  The  old  cherry  tree  near  the  wall  is  in  full  blossom,  and 
the  birds  are  warbling  forth  their  sweetest  anthems,  as  a  procession  of 
youths  and  maidens  wend  their  way  to  the  church,  where  they  are  about  to 
renew  their  baptismal  vow.  The  villagers  in  their  quaint  costumes,  and 
all  who  are  spectators  of  the  interesting  scene,  appear  to  be  invoking  a 
silent  blessing  upon  the  heads  of  the  youthful  throng. 


554.  SEYDEL,  ED.  Dresden. 

FOREST  CHILDREN  AT  CHURCH. 

555.  JACOBS:  (after) 

ROMAN  MATRON. 

The  picturesque  costume  of  the  Italian  peasantry,  is  admirably  suited  to 
the  dark  pensive  beauty  of  the  "Roman  Matron.'' 


556.    BU0NAR0TTI,  MICHEL  ANGELO.  (after) 

BATTLE  BETWEEN  JUPITER  AND  THE  GIANTS. 


557.    SCHMIDT,  GUSTAVE. 

HORSES  IN  A  SNOW  STORM. 


108  CATALOGUE 


558.    BERGHEM,  NICHOLAS.         Dutch  School 

LANDSCAPE  WITH  CATTLE. 

1624—1683. 

A  landscape,  enlivened  with  a  charming  group  of  cattle  and  sheep.  The 
animals,  led  by  the  herd,  are  crossing  a  streamlet  just  below  the  cascade. 


559.    VON  GEBHARDT,  E.  Dusseldorf. 

LAZARUS  AND  THE  RICH  MAN. 

Represents  Lazarus  in  a  brown  garment,  seated  upon  the  ground,  reading 
from  an  illuminated  volume  which  he  holds  in  both  hands,  while  a  dog  is 
licking  his  feet.  Through  an  iron  fence  of  rather  modern  workmanship,  we 
see  the  ornamental  grounds  where  Dives  and  his  friends  are  holding  their 
fete,  placidly  ignoring  the  misery  so  near  their  gates. 


560.   POTTER,  PAUL.  Dutch  School. 

CATTLE  PIECE. 

1625—1651. 


561.    SHAW,  S.  W.  San  Francisco. 

PORTRAIT  OF  MARK  HOPKINS. 


562.    SHAW,  S.  W.  San  Francisco. 

PORTRAIT  OF  S.  S.  MONTAGUE. 


563. 

PORTRAIT  OF  CHARLES  CROCKER. 


564.  SHAW,  S.  W.  San  Francisco. 

PORTRAIT  OF  JUDGE  E.  B.  CROCKER. 

565.  SHAW,  S.  W.  San  Francisco. 

PORTRAIT  OF  C.  P.  HUNTINGTON. 


CROCKER  ART  GALLERY.  109 


566.    SHAW,  S.  W.  San  Franeiseo. 

PORTRAIT  OF  LELAND  STANFORD. 


567.   KRONBERGER,  C.  Munich. 

OLD  SOLDIER  WITH  SHOW. 

Humble  interior.  The  peasant  is  gazing  with  curiosity  at  the  show, 
'  which  is  exhibited  upon  the  table,  and  his  wife  is  holding  up  a  flaxen-haired 
baby  for  a  peep,  while  a  boy  and  a  little  bare-footed,  golden-haired  girl  are 
eagerly  listening  to  the  veteran's  -explanation.  In  the  background  to  the 
right,  a  young  girl  stooping  over  the  stoves  is  busying  herself  with  culinary 
matters. 


568.    COL,  DAVID.  (after) 

TESTING  THE  WINE. 


569.    VAN  DER  DOES,  J.  Dutch  School. 

SHEEP  AND  GOATS. 

Jacob  Van  Der  Does,  born  at  Amsterdam  in  1623,  was  for  some  time  a 
scholar  of  Nicholas  Moyaert.  On  proceeding  to  Italy,  he  was,  however, 
strongly  influenced  by  the  pictures  of  Peter  van  Laer  (called  Bamboccio), 
and  attaching  himself  to  tho  style  of  that  master,  he  painted  similar  subjects 
with  great  success.  He  executed  landscapes,  chiefly  of  Italian  character, 
enlivened  with  sheep  and  goats,  "  which  are  touched  with  a  precision  and 
beauty  of  pencil,  that  has  hardly  been  surpassed."  Van  der  Does  is  said  to 
have  been  of  a  gloomy,  morose  and  fretful  temperament,  and  his  works 
seem  to  partake  of  the  gloominess  of  his  character.  He  died  at  The  Hague 
in  1673. 


570.    ROEGGE,  W.  Munich. 

RETURN  FROM  THE  WAR. 

Joy  indeed  is  in  the  humble  dwelling,  to  which  the  loved  one  has  returned 
in  health  and  safety,  from  the  dangers  of  the  cruel  war.  Gratitude  beams 
from  all  countenances,  the  mother's,  who  is  hastening  to  her  son's  embrace, 
and  the  fair  young  girl's,  be  she  sister  or  sweetheart,  who  stands  with  clasped 
hands  beside  the  two.  The  old  father  is  rising  from  his  book  at  the  table,  to 
greet  his  soldier  son,  and  a  sweet-faced  little  girl  is  turning  towards  him  a 
glad,  half- wondering  face.  Even  the  dog  shares  in  the  general  rejoicing, 
and  through  the  open,  vine- wreathed  door,  some  neighbors  are  quietly  par- 
ticipating in  the  happy  scene. 


110 


CATALOGUE 


571.    VAN  OER,  THEOBALD  F.  Dresden. 

MARIA  THERESA  AT  HER  HUSBAND'S  TOMB. 

Attired  in  black,  a  long  veil  depending  from  her  widow's  cap,  her  fine, 
strong  l\ace  seen  in  profile,  the  great  Empress  kneels  at  a  prie-dieu  before 
her  husband's  tomb  in  the  vault  of  the  Capucines,  where  for  thirteen  years 
she  daily  repaired  to  pray,  until  death  finally  granted  her  a  resting  place  by 
the  side  of  her  beloved  Francis.  To  the  right,  lamp  in  hand,  a  sandalled 
monk  in  the  brown  habit  of  his  order,  stands  in  a  reverential  attitude, 
waiting  until  the  illustrious  mother  of  Joseph  II  shall  have  finished  her 
devotions. 


572.  UNKNOWN. 

ROYAL  PLEASURE  PARTY. 


573.    NEEFS,  PETER,  The  Elder. 

Flemish  School. 

CHURCH  INTERIOR. 

This  artist,  a  pupil  of  Henry  Steenwyck,  painted  like  his  master  most 
exquisite  interiors  of  churches  and  temples.  "Such  was  his  knowledge  of 
perspective,  that  he  was  accustomed  to  paint,  in  the  small  space  of  a  cabinet 
picture,  the  largest  and  most  magnificent  gothic  edifices,  in  so  masterly  a 
manner  as  to  delude  the  spectator  into  the  belief  of  the  reality  of  the 
immense  space  the  building  represents."  He  was  born  in  1570  and  died  in 
1651. 


574.    SEYDEL,  ED.  Dresden. 

GERMAN  COUNTRY  INN. 

An  exceedingly  faithful  representation  of  German  country  life.  Groups 
of  children  and  grown  people  are  enjoying  themselves  out  of  doors,  the 
youngsters  playing,  while  their  elders  are  regaling  themselves  with  coffee, 
at  tables  under  the  trees. 


575.    BRANDNER,  P.  Dresden. 

ZWINGLIUS  VISITING  ULRICH  VON  HUTTEN. 

Interior  of  a  sleeping  apartment.  Von  Hutten,  who  is  seated,  has  only 
recently  left  his  couch,  and  Zwinglius,  in  a  cap  and  black  fur-trimmed  robe, 
stands  by  his  side  holding  the  hand  of  the  younger  man.  A  woman  servant 
is  kindling  a  fire  in  the  large  stove. 


CROCKER  ART  GALLERY. 


Ill 


576. 


FRIEDRICH,  A. 


Dresden. 


SAXON  FARM  YARD. 


577. 


MULLER,  MORITZ. 


Munich. 


MARKET  SCENE  BY  LANTERNS  AND  MOONLIGHT. 


578.   RUYSDAEL,  JACOB. 


Dutch  School. 


1636—1681. 


FOREST  CABIN. 


579.    TENIERS,  ABRAHAM.         Flemish  School. 


This  painting,  representing  the  outside  of  a  Flemish  ale  house,  with 
groups  of  peasantry  regaling,  is  from  the  brush  of  Abraham  Teniers,  a 
brother  of  David  Teniers,  The  Younger.  He  was  born  at  Antwerp,  about 
1618,  and  received  his  art  education  both  from  his  father  and  brother.  He 
painted  chiefly  Flemish  village  scenes,  in  a  style  similar,  although  inferior, 
to  that  of  the  younger  David.   He  died  in  1691. 


Probably  few  paintings'in  existence  are  better  known  to  the  public  than 
the  favorite  crayon  before  us,  for  "la  chocolatiere  de  Vienne""  is  seen  on 
almost  every  article  that  is  capable  of  artistic  decoration.  The  original 
picture,  in  the  Dresden  Gallery,  was  painted  by  a  Swiss  artist,  Jean  Etienne 
Liotard,  sometimes  called  "The  Turk."  He  was  born  at  Geneva,  in  1702, 
and  in  his  earliest  youth  studied,  without  instruction,  the  works  of  Petitot. 
At  the  age  of  thirteen  he  went  to  Paris,  and.  became  a  pupil  of  Masse.  At 
Naples,  whither  he  accompanied  the  Marquis  de  Puysieux,  he  painted  por- 
traits in  crayon,  and  miniatures  on  ivory,  and  during  his  stay  at  Rome  he 
painted  portraits  of  the  Pope  and  the  Stuart  family.  In  1742  he  proceeded  to 
Vienna,  where  he  was  received  with  high  favor  at  Court,  being  commis- 
sioned to  paint  the  portraits  of  the  Imperial  Family.  He  returned  to  his 
native  country  in  1776,  and  died  shortly  afterwards. 


VILLAGE  ALE-HOUSE. 


580.  LIOTARD. 


(after) 


THE  CHOCOLATE  GIRL. 


112 


CATALOGUE 


581    TENIERS,  DAVID,  The  Elder. 


Flemish  School. 


TAVERN  SCENE. 


Interior  of  a  Flemish  tavern.  Various  viands  are  spread  upon  a  rude 
table,  round  which  is  seated  a  noisy,  brawling  company  of  men  and  women. 
To  the  left,  a  woman  is  nursing  an  infant. 

David  Teniers,  The  Elder,  was  horn  at  Antwerp,  in  1582,  and  was  educated 
in  the  school  of  Rubens,  who  esteemed  him  highly  for  his  promising  talents. 
He  devoted  himself  for  some  time  to  historical  painting,  and  visited  Italy 
for  the  purpose  of  studying  the  works  of  the  most  celebrated  Italian 
masters ;  but  finding  that  his  genius  led  him  rather  to  landscape,  he  placed 
himself  at  Rome,  under  the  tuition  of  Adam  Elsheimer,  with  whom  he 
remained  six  years.  On  returning  to  Flanders,  he  adopted  however  a  style 
of  his  own,  which  he  practised  with  the  utmost  success.  He  painted  cabinet 
pictures  of  merry.makings,  rural  sports,  fairs,  festivals,  etc.,  which  he 
treated  with  much  humor  and  ingenuity.  "His  works  would  have  been 
considered  among  the  happiest  efforts  of  the  art  in  that  particular  branch 
had  they  not  been  so  much  surpassed  by  the  inimitable  productions  of  his 
son."   He  died  in  1649. 


This  little  picture,  doubtless  painted  from  Nature,  represents  a  rushing 
forest  cascade,  throwing  its  snowy  spray  up  on  either  side  of  the  rocky 
banks.  To  the  right  are  some  old  buildings.  Two  peasants,  a  man  and  a 
woman  are  conversing  near  a  stile,  and  overhead  is  a  sombre,  Norwegian 
sky. 


582.    HERZOG,  H. 


WATERFALL. 


CROCKER  ART  GALLERY.  113 

MINIATURES. 

The 

following  collection  of  exquisite  Miniatures  is  well 

worth  close  examination. 

583. 

MARR. 

IN  A  STORM. 

584. 

OTT. 

LANDSCAPE. 

585. 

HEINEFETTER. 

BATTLE  BETWEEN  FRENCH  CUIRASSIERS  AND 

CHEVAU-LEGERS. 

586. 

BRAUER. 

CHURCH  INTERIOR  WITH  TOMB. 

587. 

EVERS. 

WINTER  LANDSCAPE. 

588. 

DORNER. 

8 

DEER  PARK. 

114 


CATALOGUE 


589.  ALTMAK 

THE  PEASANT'S  HOME. 

590.  KAISER. 

H1NTER  LAKE. 

591.  WENDLING,  L. 

THE  PET  BIRD. 

592.  DURK. 

THE  GUARDIAN  ANGEL. 

593.  LEIZEN. 

THE  TOILET. 

594.  LUGER. 

LANDSCAPE. 

595.  VERMEERSCH. 

CASTLE  OF  NORDHAUSEN. 

596.  FOLZ,  PH. 

NEAPOLITAN  FISHERWOMAN  ON  THE  BEACH. 

597.  BAYER. 

THE  ABBOT  AT  STUDY. 

598.  HESS,C  \  • 

COURTSHIP  IN  THE  HAY  LOFT. 


1 

CROCKER  ART  GALLERY. 

115, 

599. 

MENDE. 

THE  SIESTA. 

600. 

SCHEUTZER. 

SARGANS  CASTLE  (  Grisons,  Switzerland  ). 

601. 

PETZL,  JOS. 

ORIENTAL  GUARD. 

602. 

GILLE 

WOMEN  BATHING. 

60S. 

ADAM,  ALB. 

HORSES  IN  PASTURE. 

604. 

HAUSHOFER. 

ITALIAN  LANDSCAPE. 

605. 

HEINEL,  P. 

AT  THE  CHAMBER  WINDOW. 

606. 

KAISER, 

LANDSCAPE. 

607. 

METZINGER. 

VIEW  OF  KOCHELSEN. 

608. 

DILLIS  GUN 

SWISS  LANDSCAPE. 

116 


CATALOGUE 


609.  HEINEFETTER. 

DRESSING  THE  WOUNDED. 

610.  WERNER. 

CHAPEL  IN  SWITZERLAND. 

611    LEBSCHEE,  C. 

LANDSCAPE  ON  THE  AMPER. 

612.  CROLA. 

WOODLAND  SCENE. 

613.  BURKL. 

THE  BULL. 

614.  HESS,  CARL. 

SWISS  DAIRY. 

615.  QUAGLIO,  SOR. 

CASTLE  OF  HOHENSCHWANGAU. 

616.  KATTENMOSER. 

MOTHER  AND  CHILD. 

617.  EIBNER. 

STRAUBING. 


618.  NACHTMAN. 

FLOWERS  AND  FRUIT. 


CROCKER  ART  GALLERY. 

117 

619. 

TANCK. 

MARINE  VIEW. 

620. 

BURKL. 

HORSE  GRAZING. 

621.  LEIZEN. 

FAUST  AND  GRETCHEN. 

He  loves  me ! 

622. 

LOTZE. 

COW  AND  CALF. 

623. 

KATTENNOSER. 

TYROLESE  TAVERN  SCENE. 

624. 

GEIST. 

VIEW  NEAR  NAPLES. 

625. 

STEINGRUBEL. 

LANDSCAPE. 

626. 

VOLMER. 

MARINE. 

627.    MULLER,  MORITZ. 

COURTING. 

Candle-light  efl'ect. 

Munich. 

628. 

HABENSCHADEN. 

CATTLE  RETURNING  HOME. 

118 


CATALOGUE 


629.  ROTTMANN,  CARL. 

GREEK  PEASANT  WOMAN  AT  THE  WELL 

630.  KIRCHNER. 

CHURCH  OF  ST.  ELIZABETH,  NEAR  MARBURG. 

631.  SCHOENEELD. 

TOWN  HALL  OF  MITTELSTADT,  IN  THURINGIA. 

632.  DYCK. 

CHILDREN  AT  FOUNTAIN. 

633.  HESS,  CARL. 

TYROLESE  MOTHER  AND  CHILD. 

634.  KLOTZ,  AUGUST. 

MOTHER  AND  CHILD. 

635.  LOTZE. 

CATTLE  PIECE. 

636.  MILLNER.  v 

ALPINE  LANDSCAPE. 

637.  BURKL. 

WINTER  SCENE. 

638.  SCHNITZLER. 

STILL  LIFE, 


CROCKER  ART  GALLERY. 


119 


639.  STANGE. 

LANDSCAPE. 

640.  KIRNER. 

THE  YOUNG  MUSICIAN. 

641.  DILL1S,  GEORG  VON. 

LANDSCAPE  WITH  CASTLE 

642.  SAGSTAEDTER. 

THE  FIRST  SMOKE. 

643.  MATTENHEIMER. 

FLOWER  PIECE 

644.  FOHR. 

HEIDELBERG  CASTLE. 

645.  SCHILCHER,  VON. 

HUNTING  SCENE. 

646.  GILLE. 

THE  EVENING  PRAYER 

647.  BRUNNER.  . 

ALPINE  SCENERY,  WITH  SWISS  CHALET. 

648.  QUAGLIO,  SUN. 

THE  TOWER  WITH  FIVE  CORNERS,  IN  NUREMBERG. 


120 


CATALOGUE 


649.  SCHOENFELD. 

TUBINGEN  GATE. 

650.  HABENSCHADEN. 

CATTLE. 

651   BAYER,  VON. 

MONK  REPLENISHING  THE  VEILLEUSE. 

652.  FISCHBACH. 

LAKE  OF  GMUND. 

653.  WELLER. 

TYROLESE  PEASANT  WOMAN. 

654.  HEILMAR. 

LOISANT  VALLEY  AND  MOUNT  ZUGSPITY. 


655.  SCHELTER,  A. 

CHARGE  OF  BAVARIAN  DRAGOONS. 

656.  PET ZL,  JOS. 

THE  REPROOF. 

657.  LEIZEN. 

LOVE  DREAMING. 


658.    MORGENSTERN,  CHR.  < 

VIEW  NEAR  STARNBERG. 


CROCKER  ART  GALLERY. 

121 

boy. 

UlUTlilf  T7T)  71/f  A  A7A7    A  T  D 

ZlmmhKmAISJS,  ALB. 

NYMPH  AT  THE  BATH. 

RRH 

oou. 

ATT7T7T  71/f  /i  VD 

SWISS  LANDSCAPE. 

RR  1 
001. 

tJUAiiLlU,  VUM. 

CHURCH  NEAR  WEILBURG. 

RR  Q 

oo2. 

THE  GUARDIAN  ANGEL. 

RR9 
OOO. 

P  T>  A  T7T7T  77 

THE  SISTERS. 

RRA 
004. 

W 1  lhJSBALn. 

ONE  OF  THE  OLD  MASTERS. 

n  n  r~ 

000. 

TIT  A  T)  TIT  Ti  T"*  T>  /"»  PD 

WARNBERGER. 

HARLACHING  CASTLE. 

> 

/O/O/O 

000. 

txt"  /(  /"»  if  tit  n  ^  TTT-fn 

WAGENBAUER. 

CATTLE  AND  SHEEP. 

00  / . 

7/1  n  r  f 
J  (JUL,  r. 

REIFFENBERG  CASTLE. 

668. 

MULLER,  MORITZ. 

TYROLESE  INN  SCENE. 

122 


CATALOGUE 


669.  HEIM. 

VIEW  OF  MUNICH. 

670.  ZIMMERMANN,  CI. 

ST.  CECILIA. 

671    BAYER,  VON 

ST.  PETER'S  CEMETERY,  NEAR  SALZBURG. 

672.  HEINLEIN. 

LANDSCAPE,  WITH  LAKE. 

673.  FRIDL. 

CASTLE  OF  HOHENSHWANGAU. 

674.  KLENZE,  VON. 

CONVENT  RUINS  IN  ITALY. 

675.  CROLA. 

OLD  ALBECK  CASTLE. 

676.  RUBEN. 

STREET  SCENE— ITALIAN  BAGPIPERS. 

677.  BACH. 

THE  DILIGENCE. 

678.  MARTIN. 

HINTER  LAKE. 


CROCKER  ART  GALLERY. 

123 

ZtLti. 

CASTLE  SCHWANECK. 

/?  on 

oou. 

r\  rprrr 

Oil. 

THE  LIGHTHOUSE. 

UOl. 

VY  JL\ll\LH  tit  ill  JJ SjIIV Lu . 

LANDSCAPE  WITH  CATTLE. 

ooz. 

AT)  AM  UFTNP  TCFf 

ISARTHOR. 

uoo. 

U  YY  1L. 

CONVENT  HALL,  WITH  MONK. 

7WFNC  ATTFJ? 
L  VV  Ely  li  All  L\L\. 

EVENING  LANDSCAPE. 

UOO. 

MFNT)  V 
ML1V  JJL. 

THE  ARTIST'S  STUDIO. 

uou. 

1 

o\jLllljIkjLl. 

LANDSCAPE. 

GTTNTC 
kjlivijx.. 

MAGDALENE.  (?) 

688. 

EZDORFF,  CHR. 

LANDSCAPE,  WITH  WATERFALL. 

- 

124 

CATALOGUE 

689. 

KAISER.  . 

SWISS  SCENE. 

690. 

MELCHIOR,  W. 

THE  POSTILION. 

691. 

MARR. 

TO  PASTURE. 

692. 

GEIST. 

THE  DEAD  PET. 

693. 

KIRNER. 

ROMAN  MATRON  WITH  CHILD. 

694. 

AERTTINGER. 

SURREPTITIOUS  LESSONS  IN  COURTSHIP. 

695. 

HEINZMAN. 

HILGARTSBERG  CASTLE,  SWITZERLAND. 

696. 

• 

MONTEN. 

CHEVAU-LEGERS  ATTACKING  A  BATTERY. 

697. 

QUAGLIO,  SOR. 

TYROLESE  APPLE  ORCHARD. 

698. 

WELLER. 

HELPING  MOTHER. 

CROCKER  ART  GALLERY. 


125 


699. 


BRANDES. 


ALPINE  LANDSCAPE. 


700. 


LEFEUBURE. 


THE  HUZZARS. 


701. 


BAYER,  VON. 


MONK  IN  HIS  CELL. 


"  Their's  must  have  been  a  life  of  dreams, 

Exalted  and  sustained 
By  that  enthusiastic  faith 

Which  such  a  victory  gained. 
Tet  hold  I  not  such  sacrifice 

Is  for  the  Christian's  creed. 
I  question  of  its  happiness — 

I  question  of  its  need." 


i 


